BIBLIOGRAPHY

Mora, Pat. 2002. A library for Juana: the world of Sor Juana Inés. Ill. by Beatriz Vidal. New York: Alfred A. Knopf. ISBN 0375086431

PLOT SUMMARY

Mora follows the life of Juana Inés, a child with an unquenchable thirst for knowledge. When Juana was three years old, she followed her older sister to school and asked to be part of the class. From that moment, Juana’s life revolved around books and knowledge. As a child, her favorite question was why?—“Why do volcanoes smoke? Why are leaves green?” As Juana explored her world, she enjoyed playing with words and sounds, and began to write poetry. Juana’s dream was to go to Mexico City to study at the university, but only boys were allowed to attend university. So, when Juana went to dinner dressed as a boy and informed her parents that she was practicing to go to the university, because girls were as smart as boys. As Juana grew older, she moved to Mexico City to live with her aunt and uncle, who hired a tutor to teach her at home. Even then, Juana was more interested in books that her appearance or the other things that girls were supposed to be interested in, and when her aunt and uncle took her to the palace, the viceroy and his wife were so impressed with her beauty and talent that she was asked to become a lady-in-waiting at the palace. Juana became a favorite at the palace, and many people came to her and asked her to write poems and riddles for them. The viceroy even invited forty scholars to the palace to ask Juana questions, and although the questions were difficult, Juana was able to answer every one. Juana loved learning, and, since she needed quiet to think and to write, she became a nun and changed her name to Juana Inés de la Cruz. While at the convent, she continued to add books to her library until it became one of the largest libraries in the Americas. One of Juana’s greatest achievements was the publication of her own book of poems, which she added to her library. The watercolor illustrations by Vidal are reminiscent of renaissance miniatures that were popular during Juana’s life and detail both the activity of life at the palace as well as the beauty that surrounded Juana in her new home. The opening illustration shows Juana looking at books and a swirl of illustrations show readers the topics of her books in a dreamy swirl that covers both pages. Similarly, the two-page spread illustrating Juana with the scholars is highlighted by insets of the topics on which she was quizzed—music, art, math, literature, and astronomy. The expressive faces in the pictures along with the flowers that grow in the margins of each page add a beauty to the text that emphasizes both the strength and the femininity of the heroine.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

A Library for Juana is a fascinating look at the life of one of the foremost scholars of the renaissance age. Although the font used for the text is very small, the use of quotes and poems from Juana herself adds a dynamic to the story that will enthrall readers. Additionally, readers will find Spanish text interspersed with English, infusing the story with Juana’s heritage and culture. Juana’s European heritage is highlighted throughout the biography, and readers will also find that A Library for Juana calls attention to the different value that culture placed on women in the 17^th century. Juana was a “poet, defender of women’s educational rights, intellectual, playwright, environmentalist, wit.” As the first great Latin American poet, Sor Juana Inés de la Cruz, by her life and art, proved to the world that women “can do more than spin and sew, they could study and prove all they know”. 

The illustrations by Vidal explore the different appearances of people in the European cultures. The miniature watercolors show people with varying shades of skin as well as different hair colors and hairstyles, which add to the integrity of the story. Juana’s story, told in both words and illustrations show her love of books and learning, is inspiring, and will provide motivation for achievement in readers who identify with the heroine.

REVIEW EXCERPTS

School Library Journal. Sor Juana Ines de la Cruz died in 1695 in a convent in Mexico. Despite the passage of more than 300 years, she is still considered one of Mexico’s most brilliant scholars. An internationally known bibliophile and poet whose works are studied in university Spanish literature courses, she was a Renaissance woman in the most complete sense of the word. Mora’s beautifully crafted text does credit to its subject, following her from birth to death. Sor Juana In s comes across as intelligent, headstrong, humorous, and kind, and her retreat to the convent as a place of learning seems natural.

Kirkus Reviews. This picture-book biography of Sor Juana Inés de la Cruz brings the great 17th-century poet and intellectual, revered throughout Latin America, to the attention of English-speaking children. Graced by Vidal’s (The Magic Bean Tree, not reviewed, etc.) exquisite gouache-and-watercolor illustrations, created with a magnifying glass and small brushes in the style of illuminated manuscripts, this is quite elegant. Graceful flowers, especially roses (the subject of one of Sor Juana’s best-known poems), link text and pictures.

CONNECTIONS

Sor Juana Inés de la Cruz enjoyed playing with sounds and words, and in the palace, she was often asked to write riddles and poems for other palace residents. By writing poems and riddles, students can discover the creative side of this historic figure.

Look for these books of poetry by Sor Juana Inés de la Cruz:

de la Cruz, Sor Juana Inés. Sor Juana Inés de la Cruz poems: a bilingual anthology. ISBN 9780916950606

de la Cruz, Sor Juana Inés. Sonnets of Sor Juana Inés de la Cruz in English verse. ISBN 9780773473386

de la Cruz, Sor Juana Inés. Sor Juana anthology. ISBN 9780674821217

de la Cruz, Sor Juana Inés. Sor Juana’s love poems. ISBN 9780965155861

de la Cruz, Sor Juana Inés. The answer/la respuesta: including a selection of poems. ISBN 9781558610767

BIBLIOGRAPHY

Soto, Gary. 1995. Canto familiar. Ill. by Annika Nelson. New York: Harcourt Brace & Company. ISBN 0152000674

PLOT SUMMARY

Gary Soto has combined a look at the familiar in a book of poems that celebrate the familiar moments in lives, especially the lives of children. From poems about familiar foods, to a celebration of success in school and well-loved pets, Soto uses a combination of Spanish and English to depict the people and places that mean “home” to him. The woodcut illustrations by Nelson also celebrate the Hispanic culture with their bright colors and folkloric emphasis that is a celebration in color and style.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

Even in its title, Canto Familiar celebrates the familiar and the things that make readers think of home and comfort. Geared toward the Hispanic culture, the book of simple poems gives tribute to many aspects of the Hispanic way of life, from food to celebration of a beautiful spring day. Throughout the selection of poems, readers will find dialect and forms of address that are well-known to people from this culture and others who find themselves part of the tradition that makes this one of the enduring cultures in the United States today. From exclamations such as ¡Ay Dios! to the people who ask the girl with the broken watch ¿Qué hora es?, Soto’s attention to detail through language is exceptional.

In addition to dialect, readers will also notice familiar forms of address. Abuelo and Abuela are mentioned frequently along with Mami/Moma and Papi, and hermana and hermano. These forms of address are as familiar in song as they are in daily life for the Mexican American culture. Along with the forms of address, the Aztec culture is mentioned in “Sarape”, a poem about a blanket the colors of the Aztec rainbow which was handed down so often, no one is sure where it belonged originally.

Physical description plays a large part in Canto Familiar. Although much of the description is found in the illustrations by Annika Nelson, in “Papi’s Menudo”, readers will find a description of Papi—“red in his eyes and whiskers the color of iron filings standing up on a magnet”. The old men playing checkers under the grape arbor had faces that were “lined and dark as the earth at their feet”. These descriptive phrases, along with the colorful woodcut illustrations by Nelson provide an imaginative look at ordinary and familiar sights.

Although readers will find abundant Hispanic dialect and forms of address throughout Soto’s selections, perhaps the most noticeable cultural aspect of this collection are the references to food. From the first poem, “Papi’s Menudo” which discusses not only menudo but tortillas to dip in it, but tortillas which do not end up in their traditional round shape, but more like continents and countries in “Tortillas Like Africa”. Food is also celebrated in “Doing Dishes” where the main character complains that when it was someone else’s night to do the dishes there was “one pot and three dishes”, but because they had chicken mole, there were plates, forks knives, a wooden spoon, and a pot stained with sauce. In Soto’s book, as in the Hispanic American culture, food plays an important and vital part of daily life.  

The woodcut illustrations by Annika Nelson represent the familiar way of life also. From the bright colors of the clothing and furnishings to the predominantly dark, straight hair of the characters, the Hispanic American culture is celebrated in picture. The hairstyles are basically the same—mature women have straight hair parted in the middle, and younger girls have pigtails, ponytails, or no particular hairstyle. Men and boys both have straight hair, brown in color and parted either on the side or down the middle. Although the culture today has as many hairstyles as there are personalities, the basic celebration of the familiar life is seen in every illustration.

REVIEW EXCERPTS

Booklist. A companion to Soto’s “Neighborhood Odes” (1992), this collection of simple free verse captures common childhood moments at home, at school, and in the street. Many of the experiences are Mexican American (”Spanish is seeing double” ), and occasional Spanish words are part of the easy, colloquial, short lines. The first-person voices are immediate, physical, and joyful, celebrating music, dancing, cats, friends, family.

School Library Journal. Who could imagine that such joyous rhythm could be found in the familiar moments of life, such as washing dishes or spotting a teacher in the market? In this companion volume to Neighborhood Odes (Harcourt, 1992), Soto not only imagines the musical beat, but also captures the energy and tranposes it into poetic songs. Imagery abounds, as in the hot iron that “snorts like a bull.” Nelson’s distinctive block prints bounce off white pages with vibrant magentas and bold blues outlined with thick black lines. The result is a harmony of words and pictures to be anticipated and savored.

CONNECTIONS

Gary Soto celebrates the familiar sights in the life of the Hispanic American culture. Poems in this book feature a celebration of food, dialect, forms of address and descriptive phrases. Students can write a poem about something familiar from the American culture (hot dogs and apple pie), or from a culture of their choosing.

Look for these other books of by Gary Soto:

Soto, Gary. Living up the street.  ISBN 9780440211709

Soto, Gary. Taking sides. ISBN 9780152046941

Soto, Gary. The afterlife. ISBN 9780152052201

Soto, Gary. Too many tamales. ISBN 9780698114128

Soto, Gary. Buried onions. ISBN 9780152062651

BIBLIOGRAPHY

Woodson, Jacqueline. 2002. Hush. New York: G. P. Putnam’s Sons. ISBN 0399231145

PLOT SUMMARY

Toswiah loves her life. She has a best friend, she lives near her grandmother, and she knows exactly who she is and where she is going. Her policeman father loved his job, and, as the only black man on the Denver police force, was respected and well-liked. When Toswiah’s father sees a young black boy shot and killed by two white policemen, his sense of justice forces him to testify against the policemen that Toswiah has known her entire life. Mr. Green’s decision to testify puts his entire family in danger and they receive death threats and are ostracized by their friends. The family enters the witness protection program, and Toswiah’s life is turned upside down. The family is moved to a new location where the kids are not friendly, her father sits and stares out the window all day, and her mother spends her time with her new-found religion. Toswiah Green is now Evie Thomas, and she struggles to discover who she is, and what her new future will hold in this captivating coming-of-age story.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

From the first page, Woodson draws readers into a mesmerizing tale of intrigue, loss, and rediscovery. Her attention to detail allows readers to picture each character as if through a window. Ma is “brown—all-over brown—hair, eyes, skin”, Toswiah and Cameron are their father’s “copper pennies”. It is these details, intricately woven into the story that give readers an insight into the lives of an African American family who is faced with one of the most difficult choices that a family can make. Throughout the story, Woodson uses words to illustrate mannerisms that bring the characters and the story to life. Woodson cleverly switches the setting of the story from the character’s past as Toswiah Green to her present as Evie Thomas, highlighting Evie’s struggle to discover her identity in a world that is not always friendly or safe. The underlying hope that is woven through the story emphasizes the strength of African American people in today’s world, where racism and prejudice still exist.

REVIEW EXCERPTS

Publisher’s Weekly. When Toswiah Green’s father, witness to a murder, does the right thing by testifying against two fellow police officers, he puts his entire family in danger. Now the Greens have fled for their lives, leaving behind all that is comfortable and familiar for the alien existences laid out by the witness protection program.

School Library Journal. The younger daughter in a successful African-American family, the 12-year-old’s life is ripped apart when her policeman father testifies against his comrades in a racially motivated shooting, placing his family in jeopardy. Now they are living in a strange city in the Witness Protection Program. They have new names, new identities, no friends, and no history. Evie’s mother has taken refuge in the Seventh Day Adventist Church, her father sits in front of the window day after day, and her older sister is looking for a way to escape this less-than-ideal reality. Evie must come to terms with her new life and create a present and future for herself even though she no longer has a past.

CONNECTIONS

Hush is an ideal book to read with students and discuss race issues, right and wrong, and consequences of decisions. It can also be used to discuss family histories and the impact of losing everything that is known.

Look for these other coming-of-age books about African American teens:

Johnson, Angela. The first part last .ISBN 9780689849237

Myers, Walter Dean. Monster. ISBN 0439202183

Draper, Sharon M. Tears of a tiger. ISBN 9780689806988

Garcia, Rita Williams. Like sisters on the homefront. ISBN 9780140385618

Flake, Sharon. Bang!  ISBN 9780786849550

BIBLIOGRAPHY

Perdomo, Willie. 2002. Visiting Langston. Ill. by Bryan Collier. New York: Henry Holt & Company, LLC. ISBN 0805067442

PLOT SUMMARY

A little girl puts on her favorite pink blouse and prepares for a visit to an icon—or at least a tribute to an icon. When the main character of this book announces her plans for the day, the excitement bursts through. To her, this is a field trip like no other. The character’s father is taking her to visit the home of author and poet, Langston Hughes. She is excited about the visit because she wants to be a poet, just like Hughes. The book is written from the point of view of the girl, and is written in verse form. The verse not only describes Hughes’ life and triumphs, but also gives insight into his creativity and a view of his home that includes old-fashioned typewriters and photographs of Langston Hughes himself. From a self-confessed “Harlem girl” who is, according to her father “like Langston’s genius child” comes a celebration of a creative genius whose works describe the life of an African American during a difficult time in American history. The illustrations combine watercolors and collage and complement the text in a way that draws readers’ eyes to the bits and pieces that combine to make up Hughes’ life. From the bright, striped pink blouse worn by the character for her trip to the typewriters with small samples of Hughes’ work showing, Collier creates interesting and detailed illustrations make the book a great one, not only for budding writers like the main character, but also for children who love interesting pictures, or dream of someday becoming an artist themselves.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

Written in verse form, the African American child who cannot wait to visit the home of her idol describes both her own life in Harlem and the life of Langston Hughes. The author’s note in the front of the book gives a brief biography of Hughes’ life and lets readers know that he only wrote when he was sad. Perdomo believes that what made Hughes sad “was how people, especially people of color, were treated”. The illustrations not only give tribute to the life of Langston Hughes, but also celebrate the African American culture. The two-page spread illustrating Hughes’ poetry that was “like jazz” depicts Hughes working at a typewriter with an inset of a jazz band that is done with muted colors in such a way that readers can almost hear the beat of the bass and hear the rhythm of the piano. The main character stands by the same window that Hughes sat by to write, and imagines the Africa that Hughes could describe. Like the author who makes her “dreams run wild”, the character celebrates the life and times of an American legend who inspires her not only to let her dreams run wild, but to make them come true.

REVIEW EXCERPTS

School Library Journal. A rhythmic poem in praise of Langston Hughes and the writer’s craft. The poem is presented by a young girl who is off to visit Hughes’s Harlem home with her father. Readers quickly learn that, like Hughes, the girl is a writer and resident of Harlem. Powerful in its simplicity, the text explores the child’s special connection to the famous man.

Kirkus Reviews. A little girl is going with her daddy to visit the home of Langston Hughes. She too is a poet who writes about the loves of her life-her mommy and daddy, hip-hop, hopscotch, and double-dutch, but decidedly not kissing games. The author’s own admiration for Hughes’s artistry and accomplishments is clearly felt in the voice of this glorious child. Langston’s spirit is a gentle presence throughout the description of his East 127th Street home and his method of composing his poetry sitting by the window.

CONNECTIONS

Literature Response for readers: Throughout the book, the little girl compares herself to Langston Hughes. Readers could complete a Venn diagram comparing themselves with Langston Hughes, or another author that they feel a bond with.

Look for these other books about Langston Hughes:

Jones, Veda Boyd. Jazz age poet: a story about Langston Hughes. ISBN 9781575057576

Gibson, Karen. Langston Hughes. ISBN 9781584154310

Medina, Tony. Love to Langston. ISBN 9781584302834

Roessel, David. Poetry for young people: Langston Hughes. ISBN 9781402718458

Cooper, Floyd. Coming home: from the life of Langston Hughes. ISBN 9780698116122

BIBLIOGRAPHY

Lester, Julius. 1994. John Henry. New York: Dial Books. ISBN 0803716060

PLOT SUMMARY

The legendary life of John Henry is retold, from the day of his birth where all the animals, including a unicorn come to get a glimpse of the new baby and the sun won’t go to bed. When the oooh’s and aaaah’s of the animals and birds were heard by John Henry, he jumped from his mother’s arms and started growing. The next day, he woke the sun up so that he would have light to work by and helped his father add a wing to the house. When he decided to leave home to make his way in the world, his father gave him two twenty-pound sledgehammers with four-foot handles made of whale bone that had belonged to his grandfather. After he left home, he helped a road crew remove a boulder that was blocking the path of the road, and as he used the sledgehammers, he swung them so fast that he made a rainbow that draped itself around John Henry’s shoulders. The rainbow, like his reputation stayed with him as he travelled the country. Henry was making his way to work on the Chesapeake and Ohio Railroad, and when he arrived, work had stopped because there was a mountain in the way. Henry pitted himself against a steam engine, and the rest of the story is history. The detailed watercolors by Pinkney bring an added humanity to this legendary tall-tale character and bring even more character to the story. The muted tones in the illustrations emphasize the earthiness of John Henry’s character, and the color added by Henry’s bandana and the rainbow that becomes his companion show a hopefulness and optimism that emphasize the text—“Dying ain’t important. Everybody does that. What matters is how well you do your living”.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

Although the characters in Lester’s retelling are portrayed as African American, only a touch of dialect in the text itself portrays them as such. The illustrations add depth and humanity to a character of lore, and the mention of animals visiting his home on the day of his birth add extra life to the story, which will encourage readers to delve more deeply into this American legend. Although the story is well-written, occasionally the personification of characters appears out of place and interrupts the flow of the story. An example of this is when John Henry wakes the sun up, saying: “Get up from there!” so that he can get to work for the day. The element of a Jacuzzi seems a out of place with the illustrations and setting of the story. The muted colors of the illustrations, although fitting with the text of the story, make details difficult to distinguish. The onomatopoeia of the ringing sledgehammer is highlighted by the rhythmic text which calls to mind the music that has been a part of the African American culture since the 1800s. The similes throughout the story (“the wind was out of breath trying to keep up with him”) include more personification that is reminiscent of other traditional literature and tall tales. Although John Henry wins his legendary contest with the steam drill, ending his life, the hope portrayed in the last lines of the story portray the hope and respect that come from a life well-lived.

REVIEW EXCERPTS

Booklist. Based on the popular black folk ballad about the contest between John Henry and the steam drill, this picture-book version is a tall tale and a heroic myth, a celebration of the human spirit. Like Lester’s great collections of the Uncle Remus tales, also illustrated by Pinkney, the story is told with rhythm and wit, humor and exaggeration, and with a heart-catching immediacy that connects the human and the natural world.

School Library Journal. Based on several well-known versions of an African American folk ballad, Lester’s tale is true to the essence of the steel-driving man; yet, it allows room for touches of whimsy and even includes some contemporary references that tie the hero to our own times.

CONNECTIONS

John Henry can be used in conjunction with a tall tale unit or other traditional literature unit. As this is only one of several versions of the story, it can be compared with other versions and illustrations can be used to retell the story.

Look for these other books about John Henry and other tall tale characters:

Keats, Ezra Jack. John Henry: an American legend. ISBN 9780394890524

Nelson, Scott Reynolds. Ain’t nothing but a man: my quest to find the real John Henry. ISBN 9781426300004

Krensky, Stephen. John Henry. ISBN 9780822564775

Kellogg, Steven. Mike Fink. ISBN 9780688135775

Osborne, Mary Pope. American tall tales. ISBN 9780679800897

BIBLIOGRAPHY

Smith, Dick King. 1990. The water horse. Ill. by David Parkins. New York: Yearling. ISBN 978-375842313

PLOT SUMMARY

When Kirstie found what appeared to be a large “Mermaid’s Purse” on the beach after a storm, she and Angus, with the help of their grandfather, Grumble, took it home. When it hatched, the children and their grandfather are faced with a rapidly growing sea monster who eats everything in sight, including the family’s hard-to-come-by cans of sardines. The Water Horse is named Crusoe and soon becomes a focus of the children and Grumble. They spend all their time feeding him and moving him to progressively bigger homes where they hope he will be safe. When the time comes to teach Crusoe that not all humans can be trusted, Kirstie and Angus are heartbroken at the thought of hurting Crusoe’s feelings. The pen and ink drawings by Parkins complement the story with a cute and occasionally frightening monster who doesn’t always understand what is best for him. Based on “one of the most enduring and intriguing legends of our time”, The Water Horse will enchant readers of all ages and will feed the imaginations of those who are not sure what they believe.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

The Water Horse is set in a small town in Scotland in the early part of 1930. Smith’s description of the Scottish coast gives the feel of a lifelong native, and the food prepared by the harried mom, from cans of sardines to a breakfast of porridge, eggs, dry toast and tea, illustrates to readers some of the traditional dishes of Scotland. Along with the food and the countryside, Smith uses the terms loch and lochan rather than the Americanized terms lake or inlet. The names of the characters are ones that readers would expect to find on the western coast of Scotland, also. From Postie Macnab, the postman to  Angus and Kirstie themselves, the names and the language of the characters take readers into Scotland as surely as does Smith’s description of the many lochs that surround the family’s home.

REVIEW EXCERPTS

School Library Journal. Set in the 1930s, this story tells of a young Scottish girl, Kirstie, and her brother, Angus, who find a mysterious egg capsule washed up on shore after a storm and take it home. To their delight, this “mermaid’s purse” hatches into a lovable sea monster they call Crusoe. The characters are believable and, since King-Smith relates events from the point of view of the water horse as well as those of Kirstie and her family, readers get to know the friendly, not-at-all-fearsome monster.

Kirkus Reviews. Searching for treasure washed up by a fierce coastal storm, eight-year-old Kirstie discovers a strange looking package-shaped object with long tendrils poking out from each of its four corners. When it hatches overnight, she finds herself the proud but puzzled keeper of what her grandfather identifies as a water horseþa sea creature of mythic stature, with a gentle nature but a ravenous appetite.

CONNECTIONS

Readers can use this book as a springboard to research this and other legends that are well-known—Bigfoot, Yeti (Abominable Snowman), the Bermuda Triangle, etc.

Look for these other books about mysterious legends:

Walker, Paul Robert. Bigfoot and other legendary creatures.ISBN 9780152171479.

Miller, Karen. Monsters and water beasts: creatures of fact or fiction? ISBN 9780805079025

Oxlade, Chris. Mystery of the Bermuda Triangle. ISBN 9780431019208

Brassey, Richard. Nessie the Loch Ness Monster. ISBN 9781858813097

Lynette, Rachel. The abominable snowman. ISBN 0737734485

BIBLIOGRAPHY

Fox, Mem. 1983. Possum magic. Ill. by Julie Vivas. Orlando, FL: Harcourt Brace Jovanovich Publishers. ISBN 0132005722

PLOT SUMMARY

When Hush was a very small possum, Grandma Poss made him invisible to protect him from predators and keep him safe. Although being invisible allowed Hush to get away with a lot of fun things like sliding down kangaroos and getting squished by wombats, one day Hush wonders what she looks like. Thus begins the adventure of a lifetime that finds Hush and Grandma Poss traveling from place to place in Australia, eating different foods at each location—all in an effort to make Hush visible. The varied techniques of Vivas’ illustrations not only complement the text, but also draw readers into the world of the Australian animals. The simple outline map and glossary at the end of the book explain Australian dishes, and make readers wish for a kitchen, a cookbook, a sample, and even a sequal.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

From Grandma Poss’ bush magic we find Hush, a cute, cuddly possum who bears more resemblance to a bush baby than the possums that we see raiding the garbage cans during the night hours. Hush is invisible for his own protection. Grandma Poss doesn’t want Hush to get eaten by snakes or any of the other predators that would love to each a cute little possum. Grandma Poss remembers that the cure for invisibility has something to do with People food, so off they go on a tour of Australia. From the Australian cities visited by the duo to the distinctly Australian “people food” that Grandma feeds Hush, readers get a humorous, sweet, and somewhat magical view of Australia and its foods. The illustrations by Vivas, although very cute, show realistic characteristics of Australian animals including emus, wombats, and dingoes. Although Possum Magic has distinctly Australian characters and dialect, the story will have universal appeal for readers looking for a good story.

REVIEW EXCERPTS

School Library Journal. Grandma Poss uses bush magic to make Hush invisible, but when Hush wants to see herself again, Grandma can’t remember which particular Australian food is needed to reverse the spell. Traveling around the continent in search of an antidote, Grandma and Hush sample Anzac biscuits, mornay, vegemite, and pavlova until the right delicacy is found.

Children’s Literature. Possum Magic casts two Australian bush possums in starring roles but also features wombats, dingoes, and emus, rendered endearing by Julie Vivas’ soft-toned watercolors. In addition to introducing Australian animals, Fox takes her possums on an eating adventure in search of the Australian foods-vegemite sandwiches, pavlovas, and lamingtons-that will work a necessary magic.

CONNECTIONS

This book can be used as an introduction to Australia and its wildlife. It can also be used to discuss the Australian culture as it relates to food.

Look for these other books about Australian creatures:

Fox, Mem. Koala Lou.ISBN 9780152000769.

Peterson, David. Australia. ISBN 9780516263724

Osborne, Mary Pope. Dingoes at dinnertime. ISBN 9780679890669

Roth, Susan L. The biggest frog in Australia. ISBN 9780689833144

Carmi, Rebecca. Expedition down under. ISBN 9780439204248

BIBLIOGRAPHY

Orlev, Uri. 2003. Run, boy, run. Translated by Hillel Halkin. New York: Houghton Mifflin Books. ISBN 0618164650.

PLOT SUMMARY

Srulik Frydman was eight years old when, during World War II, his father took his mother and him to the Polish side of their home town of Blonie. The family was trying to escape to make a better life for themselves away from the German soldiers. When Srulik’s father was captured, he and his mother returned home to their lives of hardship. Soon after, Srulik’s mother vanished, and Srulik was left on his own, with no family and no friends. He quickly joined a group of Polish boys who took him into their gang. The group was the first of many that Srulik joined, and then left, usually when it was discovered that he was a Jew. One day when he was on the run, he found his father who told him “to forget your name. Wipe it from your memory”. But even if you forget everything—even if you forget me and Mama—never forget that you’re a Jew.” Srulik takes on the new name of Jurek Staniak and portrays himself as a Polish boy whose parents were killed. He is constantly on the move as others discover his true heritage, but through it all, he remains true to himself. Jurek overcomes each hardship that is thrown in his way and becomes a stronger person who grows proud of his heritage and background.

CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)

During the first part of the story when Srulik is living with his Jewish family, the characters mentioned have Jewish names and celebrate Jewish customs. Srulik has memories of celebrating Passover with his family before the war broke out. Most of the story revolves around Jurek’s life and his attempts at normalcy in what readers will consider an abnormal situation. The tale of a Jewish boy in Poland during World War II is fraught with dangers, mistrust and loneliness. Jurek occasionally finds temporary homes with Polish nationalists, some of whom give him a job and shelter, and others who only want to turn him over to the Germans. Each family is distinctly Polish, celebrating Polish customs, called by Polish names, and eating Polish food. However, when it comes to religion, each Polish family is anxious to ensure that Jurek becomes a good Catholic. The Catholic religion is discussed in passing as is Jurek’s confirmation. Jurek becomes so bound in the Catholic faith that when Jewish families attempt to adopt him after the war is over, he has trouble giving up his Catholic ways for what he knows is his heritage. Although the cultural heritage of Jurek and his acquaintances along the way continuously identify the characters with their heritage, the details are woven in a skillful way that does not stand out in any way.

Jurek’s transformation from a Jewish boy to a Polish Catholic and back to a Jewish boy will entrance readers who are interested in this period in history as well as those who enjoy adventure stories and the success of the underdog. This story is an excellent complement to studies of World War II and the treatment of Jews across Europe during this era in history.

REVIEW EXCERPTS

Kirkus Reviews .Based on a true story, this tale of one Jewish orphan’s survival during the Holocaust boggles the imagination. Srulik, separated from his parents in the Warsaw ghetto at the age of 9, begins an odyssey that takes him into the Polish countryside, where he must literally remake himself to survive.

Publisher’s Weekly. Orlev (The Island on Bird Street), an award-winning writer and Holocaust survivor who now lives in Israel, devotes this memorable novel to the extraordinary true story of an orphaned Jewish boy’s experiences in Poland during the war. As in most such tales, eight-year-old Srulik’s account combines encounters with the unfathomably cruel and the genuinely charitable. Readers who have some familiarity with Holocaust memoirs will not be surprised by stunning coincidences and improbable events; others may grasp that survival against nearly insuperable odds depended on not one but many unlikely twists of fate.

CONNECTIONS

Students who are studying World War II, the Holocaust, or the history of the Jewish people can research the history of Jews in Poland, especially children during this time period.

Look for these other books about children during the Holocaust:

Schnur, Steven. The shadow children. ISBN 9780688132811.

Frank, Anne. The diary of a young girl. ISBN 9780553296983

Orlev, Uri. The island on Bird Street. ISBN 9780395616239

Isaacs, Anne. Torn thread. ISBN 9780590603645

Wilkomirski, Binjamin. Fragments: memories of a wartime childhood. ISBN 9780805210897

This post marks a switch to the Texas Woman’s University Multicultural Literature class for the Summer, 2008 semester.

Graphic from http://www.soe.usfca.edu/departments/ime/rtwconf/story.html