Module #4 Native American Literature: JINGLE DANCER

JINGLE DANCER

Smith, Cynthia Leitich. JINGLE DANCER. Ill. by Cornelius Van Wright and Ying-Hwa Hu. 2000. New York: Harper Collins Publishers. ISBN 9780688162429

Plot Summary

The main character in this story is a young girl named Jenna, a Muscogee (Creek) child growing up in Oklahoma. She watches a video of her grandmother performing the jingle dance at a powwow. Jenna's biggest desire is to perform the jingle dance at the next powwow but her dress does not have a voice; there are no jingles. She visits several family members who help her get enough jingles for her dress and she does get to perform the jingle dance at the powwow and her family.

Critical Analysis

Warm watercolor illustrations blend with the text to show a contemporary Native American girl and her loving family and friends give her the opportunity to perform the jingle dance at a Powwow. The characters are dressed in modern clothes and the furnishings of the house and the neighborhood scenes reflect an ordinary middle class neighborhood. The illustrators hint to a cultural diversity in the settings by providing items made of pottery, blankets, moccasins, a dream catcher, a beaded leather pouch, and a picture all representing the Muscogee culture. Indian jewelry is seen on several of the characters. Mrs. Scott has what appears to be a beaded or painted leather type of hair barrette, and earrings while Great-aunt Sis wears a bracelet that reflects their culture. The characters have dark hair and eyes and a broad face with what our family calls a "coffee pot" nose.

As we have read in our modules this semester, story telling or the passing down of stories is a special and important part of a culture and its traditions. Smith emphasizes this by having one of the characters, Great-aunt Sis tell Jenna the Bat story which is a Muscogee traditional story. Smith writes at the end of the book,"Ball games have been played by Native peoples for many, many generations and stories about such games between the animals and the birds have been told by peoples of various regions of the Americas." Native foods such as fry bread and Indian tacos are mentioned in this story. The number 4 is significant in this story. Smith uses this in describing the jingle dancer dress; Jenna needed 4 rows of jingles. Jenna also traveled in 4 different directions throughout the story, and 4 people helped her by giving a row of jingles for her dress. The women in this story seem to be strong women. They are active in their family, culture or jobs. Cousin Elizabeth, a lawyer is seen with her briefcase on a strap hanging from her shoulder and a copy of the Law Review tucked under her arm. "Objibway women and other Native women of Canada were the first jingle dancers while today girls and women of most Native Nations are jingle dancers. A number of traditional stories explain the origin and purpose of the dance but most touch on themes of healing and prayer," according to Smith. The dress of the jingle dancer is usually made of a solid color fabric with hundreds of jingles sewn onto the dress. However, Jenna's dress has two colors. The jingles are made from silver tin or aluminum lids of snuff cans which eventually look like cones and are then sewn onto the garment. Like many things in our world the jingle dancers' dress has changed as well, with more and more dresses incorporating fringe, ribbon, lacework, and sequins according to Smith. Smith also uses imagery to convey the time of day such as: As the moon kissed the sun goodnight, As sun fetched morning, as the sun arrived at mid circle, and as sun caught a glimpse of moon. All these phrases help allow the words to paint pictures in the reader's eyes. Actual directions are noticed as Jenna travels throughout the story; "south to Mrs. Scott's brand new duplex", "Jenna danced east to Great Aunt-Sis's porch," and "Jenna shuffled north to Grandma Wolfe's. I especially liked the image of the clouds, "High above, clouds wavered like worried ghosts." From what I have read this week Native Americans use a lot of imagery and nature in their stories and their descriptions. Each of the people who donate jingles to Jenna's dress have many more jingles to offer but Jenna decides to not take more because she didn't want the dress to "lose its voice." Great-aunt Sis gives her "Jingles on a dress too long quiet." Grandma Wolfe sews on the jingles as Jenna watches. This illustration is a powerful picture of one generation making it possible for another generation to take a part in a time honored tradition. At the back of the book Smith writes, "Regalia was sometimes handed down from one generation to the next. Years were often spent bringing together the various pieces, all of which are handmade. They carry spiritual significance." At the end of the story Jenna honors the women in her family by doing just what she promised, "Yes, I will dance for you."

As stated earlier at the end of the story Smith provides more information for a better understanding of the text. She explains that a ceremony called "giveaway" occurs for the new dancer. "In this ceremony the dancer's family receives fine gifts which show humility before the Creator, and generosity, and pride in the honoree."

Reviews

" Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life. An author's note and glossary tell more about the Muscogee (Creek) Nation, the Ojibway origins of jingle dancing, and the significance of the number four in Native American tradition. 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." - School Library Journal

"The watercolor illustrations clearly and realistically depict what is happening in the story. The layout of the book is straightforward - mostly doublepage spreads that extend all the way to the edges of the paper. Jenna lives on what looks like a nice suburban house, the others seem solidly middleclass, and cousin Elizabeth is a lawyer. The author is deliberately showing us, it would seem, that all Native Americans are not poor or live on rundown reservations. A useful portrayal of an important cultural event in a Creek girl's year." - Kirkus Reviews

Awards/Connections

Notable Children's Trade Book in the Field of Social Studies and a Selectors

Choice for 2001

Named to the 2001 2x2 Reading List by the Texas Library Association

One of five finalists for the children's/YA division of the Oklahoma Book Award

Runner-up for the Storyteller Award from the Western Writers Association

A CCBC Choice for 2001

Featured in Great Books About Things Kids Love by Kathleen Odean

NEA Native American Book List

Editor's Choice, The Library Talk

Named among the "Best Multicultural Children's Books for Early Childhood Educators" (Montessori Life)

Suggested Title, Recommended Native Literature for Youth Reading Circles from American Experience: "We Shall Remain" (April 2009) fro, PBS

2002 Read Across Texas Bibliography

http://www.cynthialeitichsmith.com

Module #5 Asian American Literature: TEA WITH MILK

TEA WITH MILK

Say, Allen. TEA WITH MILK. 1999. Boston: Houghton Mifflin. ISBN 0395904951

Plot Summary

May was born and raised in San Francisco until one day her homesick parents decided to return to Japan. Her mother wanted May to find a "husband from a good family." May wanted to stay in San Francisco with her friends and the customs she had grown used to such as drinking her tea with milk. When the family arrived in Japan, May felt out of place. Now in Japan, May had to take on the customs of the Japanese by wearing a kimono, sitting for hours on the floor and meet a man who possibly might be her future husband. May decides to leave her family for the bustling city of Osaka. She loves the big city but is soon discouraged because women do not usually work and her jobs seem meaningless and unimportant. She gets a break when she uses her English to help an American couple in the store where she is employed. Her boss arranges another job for her and she meets and falls in love with a young man who just happens to like tea with milk.

Critical Analysis

The conflict in Tea with Milk begins when May's (Masako) parents decide to return to Japan. Her parents have lived in California all of May's life but they still hold to Japanese customs. Conflict builds as May returns to Japan with her family. Our lecture notes suggest recurring themes in Asian Pacific American literature. Say includes the theme if "Immigrant adjustment to life in the U.S." in describing May's parents. "Her parents were homesick and decided to return to Japan." The themes of "cross cultural conflict" and the search for and acceptance of an Asian Pacific American identity" reoccur throughout the story as May has learned English and now must learn Japanese with follows this week's lecture notes, " the issue of language is an important component of Asian American culture." She dresses in the Japanese custom of the kimono for the woman and sits "on floors until her legs went numb." Even her home was different. "Her new home was drafty, with windows made of paper." She had enjoyed American food but now "There were no more pancakes or omelets, fried chicken or spaghetti. I'll never get used to this place, she thought with a heavy heart." As a military child I remember getting use to customs of my new surroundings. I did not have to leave the United States but moving from a big city in North Carolina to a small town in Texas was a big culture shock for me in regards to clothing, food and dialect. I was considered "different" for a few months but luckily acclimated easily. The theme of adjustment will resonate with many children. May wants her own identity, an American daughter. She realizes her parents did not want to be foreigners but she is now feels like a foreigner in her parents home country. Leaving for the big city of Osaka, May seems hopeful to find her place. She tries to find work only to discover that Japanese women usually do not work. "Her parents were not happy, especially her mother. It was shameful for ladies to work." May represents a strong woman who knows what she wants and wants to walk her own paths. She does not want an arranged marriage to a banker which is ironic because she meets an young man who is a banker and later marries him. He also grew up in America and likes tea with milk and sugar. After they marry and have children the couple offers both cultures to their children. Allen Say is one of those children and he like his parents enjoys tea with milk and sugar.

Say's beautiful watercolor pictures are warm with crisp details. The facial expressions of the characters add to the text helping the reader to feel the struggle May is having as she must leave the land she knows to go back to a land her parents call home. The characters have dark straight, hair and their skin is varying shades of olive with almond shaped eyes. Say definitely portrays May as a gaijin (foreigner) when he uses earth tones for most of the illustration and gives us May in her bright red dress accented with a touch of purple in her purse which also illustrates her independence and confidence as a young woman. Say exposes the reader to a different type of clothing for women in the pictures of women in kimonos, homes, and the food. There are some pictures showing transportation, department stores, and some of the clothing to be the same as in the United States which lets the reader know we share similarities. Say introduces the reader to a small slice of Japan while letting us know we all have desires and struggles within us.

Reviews

"Both an "ugly duckling" romance and a universal story of leaving home, this is a picture book that will have intense appeal for older readers." - Booklist

"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." - Publishers Weekly

Awards/Connections

THE LOTUS SEED written by Sherry Garland

FLY AWAY HOME written by Eve Bunting

THE NAME JAR written by Yangsook Choi

Riverbank Review Book of Distinction

Bulletin Blue Ribbon

SLJ Best Book

ALA Notable Book

http://www.houghtonmifflinbooks.com/authors/allensay/

Module #5 Asian American Literature: BEHIND THE MASK

BEHIND THE MASK

Choi, Yangsook. BEHIND THE MASK. 2006. New York: Frances Foster Books. ISBN 0374305226

Plot Summary

It is almost Halloween and Kimin has not decided what he should wear as his costume. Kimin's mother tries

to help him decide by bringing up two boxes from the basement that belonged to his grandfather. Kimin is

afraid to look because his last memory of spending time alone with his grandfather frightened him.

Grandfather turned around to greet him but face was scary and not that of his grandfather. Little did Kimin

realize his grandfather was wearing a mask used in special Korean folk dances. Morning comes and Kimin

decides to look inside Grandfather's wooden boxes. He finds old photographs of his grandfather wearing

masks and dancing. The other box contains the many masks grandfather wore as a dancer. Kimin decides

to be his grandfather for Halloween. Kimin goes trick-or-treating with his friends but does not tell them who

he is until the end when he trips and falls and his mask comes off. Kimin later shares his pictures and masks

with his friends as they dance around the room, like grandfather. Last year our art teacher exposed the

students to the mack dance Talchum. After learning about this brief part of the Korean culture each student

created a mask. Each mask was incredible. Behind the Mask is not rich in cultural markers but the

book can be used to illustrate a minute part of Korean culture as well as remind us of special

people in our lives.

Critical Analysis

Simple, colorful watercolor illustrations provide interest and marry the text to create a sweet story of a young

boy who learns something new and interesting about his Korean grandfather. Endpapers have examples of

the the expressive masks worn by the dancers of the traditional Korean folk dance, Talcum.

This story provides an example of what our lecture notes state about Japanese stories, "Common, Japanese

structural forms have a narrative that merely places one event after another, a narrative that proceeds entirely

through parallels and continually stresses sameness rather than differences, or a narrative that turns conflict

into accord," according to Elaine Aoki. Choi allows the reader to feel the emotion of a young boy who

remembers his grandfather as a wonderful loving grandfather until his last visit to Korea where a late night

visit to grandfather's room unsettles him. Kimin's last memory of his grandfather was not a pleasant

memory. He spies his grandfather looking into a box late one night and when grandfather turns to speak he

has on a scary mask. I am taking l liberty to assume that some of the Korean beliefs such as "lighting the

way for the wandering spirits" and "Kimin knew that Halloween was also a time to honor the dead"

have something to do with Korean beliefs. She also provides information about the Tal, which means mask

in Korean, at the end of the story. Kimin decides to honor his grandfather by wearing grandfather's mask

and dance clothes for his trick-or-treat costume. A letter written in Korean is translated into English giving

significance to the Korean language and showing the love of a grandfather to his grandson. Mother

translates the letter for Kimin and his friends because Kimin only knows English. There are other examples

of the Korean symbols/words sprinkled throughout the story. Kimin was later able to share grandfather's

pictures, masks, and dances.

Reviews

"The illustrations in muted fall colors enhance the story beautifully, and include endpapers with the stylized

masks depicted. This is an evocative look at a Korean tradition and an interesting intergenerational and

multicultural story for Halloween." - School Library Journal

"A note about talchum, Korean mask dance, follows the story. A unique look at Halloween, this

is a comfortable story about death and some of the traditions of Korean culture." - Kirkus Review

Awards/Connections

MY O'L MAN- written by Patricia Polacco

THE KEEPING QUILT - written by Patricia Polacco

2007 The Best Children's Book of the Year by Bank Street CollegeBest Children's Book of the Year

2007 NCSS-CBC Notable Trade Book in the Field of Social Studies

Author's web site:

http://www.yangsookchoi.com/

For more information about the Korean masks check out:

http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm

Module #5 Asian American Literature: COCKROACH COOTIES

COCKROACH COOTIES

Yep, Laurence. COCKROACH COOTIES. 2000. New York: Hyperion. ISBN0786813385

Plot Summary

Cockroach Cooties is a delightfully funny story of two typical brothers, Teddy and Bobby, who do not always get along. They are harassed at school by one of their peers, Arnie-zilla, until one day a secret weapon is discovered; a cockroach. The bully does not like cockroaches. The boys use the cockroach who they have named Hercules to their advantage and fortunately learn more than how to care for a cockroach.

Critical Analysis

Laurence Yep pulls from a familiar theme of sibling rivalry which is evident in any culture to create a story familiar to children about a bully, family life, and a pet. About being a big brother, Teddy states, "However, there was one part of brotherhood I took seriously. In fact, it was the privilege of all big brothers. Nobody could do serious damage to my little brother except me." This story is not unique to Asian American children except for the fact that Yep introduces a few cultural markers throughout the story which connects the reader to the fact that the boys are Asian American children. Most of the characters in the story have been assigned American sounding names: Teddy, Bobby, Arnie, Sister Marie, Roderick, Ollie to mention a few. The boys, Teddy and Bobby live in Chinatown in an apartment with their parents. They address their parents as Mother and Father. Mother is not having a birthday party instead the characters refer to the celebration as a birthday banquet which will be held at a favorite Chinese restaurant. This story goes from one event to the next with the boys learning a lesson that sometimes we behave a certain way because of our life circumstances. This is an example of what I read in the lecture notes that states,"Asian American literature is often non-linear and does not necessarily have a beginning, middle, and an end." This story is a brief glimpse into the lives of two young boys. Ethnic foods are mentioned in the story such as bright red strips of candied ginger, sweet preserved plums, Belfast sparkling cider, a kind of carbonated apple juice, paper-wrapped chicken, steamed fish in black bean sauce, with fish cheeks being the tastiest. The meals are eaten with chopsticks. When the boys go to the market to buy Mother a present the shop keeper always comments on their choice by saying ver-ree edu-ca-shun-al or ver-ree han-dee. Another glimpse into the Chinese culture is when Teddy describes one of his teachers, Miss Lee. He states, "She liked to wear Chinese-style dresses that had a slit up one leg. She liked the old-fashioned Chinese discipline, too." The theme of tolerance is loosely woven through this story. Teddy is disgusted by his brother's admiration of a newly acquired cockroach to which his brother replies, "Just because something's different doesn't make it a monster" and "He wouldn't seem so disgusting if you looked at things from his view." This statement is later revisited when the boys are talking about the bully Arnie-zilla. Arnie tells the boys his mother works two jobs and doesn't have much time in between for cleaning so the apartment is infested with bugs. Arnie hates bugs. Arnie promises to stop picking on the brothers and the brothers let Arnie save face by not telling their peers he is afraid of bugs. The children learn Chinese lessons and write their words/symbols with special ink. Bobby places the cockroach in his Chinese ink box. Yep tells the reader that a Chinese ink box is a "metal box about the size of a lady's compact and engraved on the lid was a picture of a carp becoming a dragon. In the box was a small ball of cotton soaked in Chinese ink which is thicker and blacker than American ink." The symbol of the dragon is often found in Asian Pacific American literature. According to our lecture notes, "Asian Pacific American children's literature is also grounded in symbols and creatures from folklore and myth, especially dragons and demons." Apparently Asian Americans shop daily for their meals as is the custom of other cultures. Yep describes the market in Chinatown as "the streets were filled with people shopping for their dinners. There were always plenty of fresh vegetables and meat and fish and fruit. Everyone had bulging plastic shopping bags." During the banquet expressions such as Chinese time are mentioned. "I've heard of American time and Chinese time but never bucket time." Mother's banquet was a fiasco from the beginning. There was a constant dripping from the ceiling and buckets began to overflow. Father was trying to get the buckets emptied and made the mistake of asking one of the waiters to take away some of the buckets. "Father should have known better. You just didn't say things like that to a Chinatown waiter. It was like ordering around the president." Mother and Father have a close knit relationship with each other and the family, relatives included. Many of the relatives are at the restaurant for the birthday banquet.

This book is a good example of how Laurence Yep "draws from his Chinese American background to speak to common feelings and experiences."

Reviews

"The translation reads dtiffly, but the characters are varied enough to create laughs and chemistry." - School Library Journal

"Full of the sights and sounds of San Francisco's Chinatown, the tale zips along at a brisk pace, percolating with snappy dialogue. A seasoned craftsman, Yep effortlessly shoehorns in fun facts about insects ("Did you know that cockroaches have two brains?" Bobby asks the hapless Arnie as he pursues him with Hercules). An altogether chipper outing." - Publishers Weekly

Awards/Connections

BROTHERS written by Yin, illustrator Chris Soentpiet

MY ROTTEN RED-HEADED OLDER BROTHER written by Patricia Polacco

BOTHERS AND SISTERS: FAMILY POEMS written by Eloise Greenfield

HUNGRY COCKROACHES written by Meish Goldish

http://www.readingrockets.org/books/interviews/yep

Module #4 Native American Literature: CODE TALKER

CODE TALKER: A NOVEL ABOUT THE NAVAJO MARINES OF WORLD WAR TWO

Bruchac, Joseph. CODE TALKER: A NOVEL ABOUT THE NAVAJO MARINES OF WORLD WAR TWO. 2005. New York: Dial Books. ISBN 0803729219

Plot Summary

The story is set during World War II and young Ned Begay is beginning his first year at boarding school. This is the catalyst that will forever change his life. Begay lies about his age (he is only sixteen) and joins the Marines where he becomes a Navajo code talker. Being a code talker is top secret even for as long as twenty years after the war. Ned experiences friendship and the cruelties of war while holding on to his Navaho culture and traditions.

Critical Analysis

From the opening of the story Bruchac immerses the reader into the Navajo culture by creating a picture of young Ned Begay and his feelings of leaving home. "I sat behind our hogan, leaning against its familiar walls and looking up toward the mesa. I hoped I would see an eagle, for that would be good sign." Showing respect; ..."for I had always obeyed my mother - whose love for me was as certain as the firmness of the sacred earth beneath my moccasins." Cultural markers are evident again as Begay describes his mother; "There stood my tall, beautiful mother. Her thick black hair was tied up into a bun. She was dressed in her finest clothing - a new, silky blue blouse and a blue pleated skirt decorated with bands of gold ribbons. On her feet were soft calf-high moccasins, and she wore all her silver and turquoise jewelry. Her squash-blossom necklace, her bracelets, her concha belt, her earrings - I knew she had adorned herself with all of these things for me." This was a tradition to be dressed in your finest to leave a beautiful picture in the person's mind. Also, later in the story Begay describes how all the other Navajo children at the boarding school are dressed in their finest clothes and ornamentation upon arrival. These items, a sign of how much their families loved them and how precious they were to their families, are later taken away and sold to the bilagáanaa (white people) in an effort to strip away their culture. Bruchac sprinkles Navajo words into the story while providing a translation which does not take away from the text. Terms of endearment for Begay were Kii Yázhí, (Little boy), Awee Yázhí, (Little Baby). Begay was small even as a baby and his father would tease him say ing his cradleboard was made out of the handle of a wooden spoon. Transportation to the boarding school was a wagon drawn by horses on a dirt road. When Begay's uncle was talking to him he addressed the young man as "Little Boy," he said, "Sister's first son, listen to me. Themes of pride, honor, and respect for one's family and culture are evident throughout the story. The uncle tells Begay that he is going to school for his family, not for himself. He is to learn the ways of the white people for the laws of the United States are in English. He also reminds him that the Navajo language is sacred and beautiful. This respect for the Navajo language is not present in the people at the boarding school who forbid and punish any student who speaks their mother tongue. Formal schooling was not the way of Begay's parents and relatives. They "learned all they knew from their own relatives and from wise elders who knew many things, people who lived with us. People just like us."

Traditions/customs are noticeable in the text. It was a sacred thing for men and women to wear their hair long. "Cutting your hair was believed to bring misfortune to you." This shearing of the children's hair was another attempt to strip away the Navajo identity. Names are special in the Navajo culture. "By knowing each other's clan - the clan of the mother that we were born to, the clan of the father that we were born for - we can recognize our relatives." The boarding school took the names from the Navajo children and assigned them English names in their place. Some were assigned the names of famous dead white men which was taboo to the Navajo children who knew a Navajo would "never deliberately give the name of someone who has died." It was also taboo to look upon a dead body. Unfortunately Begay was faced with this tragedy on more than one occasion as he was in some of the bloodiest conflicts during World War II. A protection ceremony was performed for Begay by a family friend Frank Mitchell, addressed as Hosteen( a Navajo word that is a term of respect) Mitchell. The ceremony was called Hózhǫǫjí, "the Blessingway". Hosteen Mitchell gives Begay a bag of corn pollen which is reminds him of the goodness of the Blessingway and to provide his life with calm, balance and safety. Johnny Manuelito a recruiting officer talked to the young men about what was expected during boot camp. To the Navajo young men it did not sound so taxing because they were used to carrying a gun and walking long distances to find food and protect their herds from predators. What was normal everyday living seemed to be a hardship for the "other" recruits and they "washed out." This illustration unsettles me. I have not been in military, but I am a military child, and know being tough is a requirement, but when Bruchac writes about average men, "They wash out. It's too hard for your average man to get used to marching long distances and carrying heavy packs, to running and climbing obstacles." I wonder, didn't a lot of "average" men make it through boot camp and later give their life defending our country?

Bruchac uses many examples of figurative language by describing things in terms of nature. One example is: "The hours and days, the weeks and months and even the years, grew legs and began to run like an antelope."

Code Taker is presented as a story told to grandchildren by the grandfather. In this case the grandfather is Ned Begay. He is finally able to tell the story of the Navajo Marine code talkers of which he was one. His feelings of pride and humility about his involvement during the war are woven throughout the story. "We did not go around thinking we were better than everyone else. We did not boast. Our pride was quiet and humble. We remembered that the language that now could be of such great use, our sacred language, had been passed down to us by our elders. We kept our elders ad our families in mind as we studied. We remembered our sacred land." Another example of honoring family, country, and one's elders. Also the value of life is perpetuated by the remarks regarding the Japanese: "What troubled me the most was the way they treated the native people of the islands they conquered. They believed only Japanese were real humans. Anyone else was treated like a dog. Never forget, grandchildren that we must always see all other people as human beings worthy of respect. We must never forget, as the Japanese forgot, that all life is holy." This is his perspective of the Japanese. I wonder if I will learn something different regarding life when we study literature from the Asian culture.

A riveting account of from a personal perspective of life during immense conflict. Ned Begay grows stronger from his experiences never forgetting his identity and reflecting on what is important to life.

Reviews

"With its multicultural themes and well-told WWI history, this will appeal to a wide audience." - Kirkus Review

"The narrative pulls no punches about war's brutality and never adopts an avuncular tone. Not every section of the book is riveting, but slowly the succession of scenes, impressions, and remarks build to create a solid, memorable portrayal of Ned Begay. Even when facing complex forces within his own country, he is able to reach into his traditional culture to find answers that work for him in a modern context. Readers who choose the book for the attraction of Navaho code talking and the heat of battle will come away with more than they ever expected to find." - Booklist

Awards/Connections

Iowa Teen Award Nominee 2007-2008

EYES OF THE EMPEROR witten by Graham Salisbury

CRACKER!: THE BEST DOG IN VIETNAM written by Cynthia Kadohata

JIM THORPE, ORIGINAL ALL AMERICAN written by Joseph Bruchac

NAVAJO CODE TALKERS written by Nathan Aaseng

WARRIORS: NAVAJO CODE TALKERS written by Kenji Kawano

To listen to poems read by Joseph Bruchac and find other interesting information check out the following website:

http://www.josephbruchac.com

Module #4 Native American Literature: THE GIRL WHO LOVED WILD HORSES

THE GIRL WHO LOVED

WILD HORSES

Goble, Paul. THE GIRL WHO LOVED WILD HORSES. 1993. New York: Simon & Schuster Children's Publishing. ISBN 9780689716966

Plot Summary

A young girl loves horses so much she spends most her time with them, tending to them and their needs. One day the girl falls asleep as the horses graze nearby and a strong storms whips up. The girl jumps on the back of one of the horses and off they go trying to ride out the storm. The nest day the girl and the horses find themselves far from home. Her people eventually find her a return her to the village only to watch her become ill over the separation from the horses. Alas, her peoples see that she must return in order to get well. For a time the girl returns with a new colt for her parents until one day she does not return. The people believe she has turned into one of her beloved horses because they see a beautiful mare with a long flowing mane running beside the spotted stallion.

Critical Analysis

Goble's illustrations of the Native Americans are sparse when it comes to facial characteristics. Long dark hair worn loose or in braids is typical of the Native American culture. I learned in a previous book the hair was a sacred thing and not to be cut. The illustrations are vivid and add immensely to the text providing emotion and movement. Symbols from nature such as the eagle and other animals and the many colors represented in the flowers, the clothing and the tipis are other cultural markers. Transportation was horseback due to the fact these people were hunters and had to be able to move when the herds moved. When the hunters find the girl she throws her blanket into the air in their direction. To me this symbolizes she is separate from her people and now part of the Horse People.

The illustrations can tell the story without the text. Never-the-less, Goble tells that the people trained their fastest horses for hunting. They had to hunt their own food so they were skilled with the bow, arrow and spear as is evident from the illustrations. The girl helped her mother gather wood and carry water to the camp. Figurative language is shown when the speaking of the early morning; " She would often get up at daybreak when the birds were singing about the rising sun." When the hunters tried to lasso the stallion Goble describes the horse; "His eyes shone like cold stars...He snorted and his hooves struck as fast as lightning."The leader of the horses spoke to the girl and welcomed her to live with them keeping the balance and respect of nature and man. In keeping with custom the girl's family gave her a beautiful dress and the best horse in the village for her return to the horses. The people also provided gifts of feather and ribbons for the horses' manes and tails. Special symbols/designs were painted on their bodies.

Supporting the strong bond of respect and family each year the girl would return with a new colt for her family.

Reviews

"The story is good for telling aloud, but the real strength of the book lies in the highly detailed, full page lithographs finely printed in bright colors that correspond with the text. For example, a night scene in a dark canyon is enchanting, conveying well the mood of desolation. The illustrations alone make this worth owning." - School Library Journal

"In this Caldecott Medal book, Goble tells the story of how a girl so loved horses that, according to this Native American legend, she eventually became one. Beautiful, bright color illustrations on every spread expand upon the spare, but effective text. A true delight for those who love folklore and horses. The text closes with two Native American songs celebrating horses." - Children's Literature

Awards/Connections

The Caldecott Medal 1979

An ALA Notable Children's Book

A NCSS/CBC Notable Children's Trade Book in the Field of Social Studies

One of the Children's Books of the Year; chosen by the Library of Congress

THIRTEEN YEARS ON A TURTLE'S BACK written by Joseph Bruchac

THE LEGEND OF THE INDIAN PAINTBRUSH written by Tomie DePaola

KEEPER OF THE NIGHT: NATIVE AMERICAN STORIES AND NOCTURNAL ACTIVITIES FOR CHILDREN (KEEPER S OF THE EARTH) written by Michael Caduto

Module #3: Hispanic/Latino(a) Literature: Tomás and the Library Lady

Tomás and the Library Lady

Mora, Pat. TOMÁS AND THE LIBRARY LADY. 1997. Ill. by Raul Colón. New York: Alfred A. Knopf. ISBN 0679804013

Plot Summary

The time of the year is summer as the story opens with Tomás and his family driving late at night to reach Iowa where they will join other migrant Mexican farm workers to harvest the crops. While the adults are working Tomás and his brother Enrique listen to stories told to them by their grandfather, Papá Grande. Pretty soon Tomás knows all Papá Grande's stories and begins to ask for new stories. Papá Grande encourages him to visit the local library where he can learn new stories and share them with the family. Tomás gets the courage to go inside the formidable building and mets the librarian who introduces him to various books and multitudes of stories as well as gives him cool water to drink and offers him a comfortable place to read and ponder over his books. Since he cannot have a library card she checks books out to him under her name. When the afternoon is slow, he teaches Spanish words to the librarian. Soon the harvest season is over and Tomás must say, "adiós." When Tomás leaves he takes with him many new stories in his mind as well as a shiny new book from the librarian.

Critical Analysis

Raul Colón's illustrations match the tone of the text, warm, safe, and inviting. His scratch technique emphasizes this as the markings are fluid and smooth giving dimension as well. The characters are dark haired except for the graying Papá Grande and the librarian. Large brown eyes stare out from the page in wonderment as Tomás thinks about what he is reading and when he is teaching Spanish words to the librarian. The clothing is typical to the late 1940's when this story takes place; Papá Grande has his white shirt buttoned up to his neck and the librarian has on a dress with a Peter Pan collar. The setting takes place in a small farming community. Tomás travels on foot between the fields where his parents are working to the library in town.

Tomás and his family are migrant Mexican farm workers. Mora describes the sleeping conditions when they arrive on the Iowa farm: "He curled up on the cot in the small house that his family shared with the other workers." In addition to the text, the illustration shows Tomás sleeping, probably in his underwear because his bare arm and chest are showing, with a patched blanket, in a seemingly bare room. Their car is described as a "rusty old car" which further conveys a feeling of poverty. When the boys played catch it was with a ball their mother had made from an old teddy bear, not a real ball. They did not stop to stay in a motel. Instead the family is traveling late into the night. Some days the family went to the town dump to look for pieces of iron to sell. The boys each looked for items of interest to them; toys for Enrique and books for Tomas. Mora writes, "He would put the books in the sun to bake away the smell." What a picture those words paint.

The grandfather does not work in the fields. He keeps an eye on the brothers and tells them stories while the others are working. I have several Hispanic friends who have their grandparents living with them and it is viewed as a natural part of their family life. A sense of family is strong within the Hispanic culture. In our lecture notes Nieto writes, "Latino children's literature has revolved around folklore, legends, riddles, games, poetry, and stories in the oral tradition, rather than on the childhood or adolescent experience as interpreted in the U.S. context" (Nieto, 1997). Papá Grande does just that, he tells stories orally. "Tomás liked to listen to Papá Grande tell stories in Spanish. Papá Grande was the best storyteller in the family." In our lecture notes Mora writes, "What we have inside of our homes and our families is a treasure chest that we don't pay attention to." Vardell goes on to add " She urges young people to preserve their heritage by tape-recording their family's stories and finding out about the cultural treasures in their homes. Mora also draws from her culture by using names such as Enrique, Mamá, Papá, Papá Grande, and Tomás. She mingles Spanish words along with the English text such as buenas noches (good night), En un tiempo pasado (Once upon a time), counting in Spanish, and libro (book) to name a few. The Spanish words are in italics which helps to set them apart from the English text.

The relationship between Tomás and the library lady builds as the story closes with Tomás teaching her the Spanish word for goodbye, "adiós" and later he gives her a small package containing pan dulce, a type of sweet bread baked by his mother, "My mother makes the best pan dulce in Texas." She reciprocates by giving him a present, his very own book. This made a tremendous impact on Tomás. Even though this is fiction, it is based on the early years of Tomás Rivera whose family were migrant workers and he was encouraged to read by a librarian in Iowa. Further research on this book led me to discover the name of the Iowa librarian; Miss Bertha Gaulke. (Horning, 2006). Her kindness and introduction to the books in the library did have an impact on Tomás but I think the stories from his grandfather was the foundation for young Tomás's love for books.

Horning, Kathleen T. "Incoming ALSC President's Message." Children & Libraries: The Journal of the Association for the Library Service to Children 4, no. 2 (2006): 6-11. http://ezproxy.twu.edu:2053/login.aspx?direct=true&db=a9h&AN=22251332&site=ehost-live.

Reviews

"Mora's slice-of-life account tells of the son of migrant workers(inspired by the boyhood of Hispanic author and educator Tomás Rivera) whose horizons and linguistic skills are thrown wide open by the guidance of a friendly librarian. The hardships of migrant life and the dreams that books and learning provide are carefully delineated in both text and muted illustrations." - School Library Journal

"Spanish words slip in naturally and unobtrusively throughout Mora's text as she focuses on the snug library and the books that fire Tomás's imagination, and on his friendship with the librarian." - Publishers Weekly

Awards/Connections

1997 Américas Award for Children's and Young Adult Literature Commended Title

1997 Notable Books for Children Smithsonian

1998 Tomás Rivera Mexican American Children's Book Award'

1998 Teachers' Choices Award from the International Reading Association

1998 Skipping Stones Multicultural Book Award

1999-2000 Texas Bluebonnet Master List Title

1999-2000 Nebraska Golden Sower Nominee

THE LIBRARY DRAGON - written by Carmen Agra Deedy and illustrated by Michael P. White

THE LIBRARY - written by Sarah Stewart and illustrated by David Smalls

LIBRARY LIL - written by Suzanne Williams and illustrated by Steven Kellogg

ARMAND AND THE BLUE TARP SCHOOL - written by Edith Hope Fine

and Judith Pinkerton Josephson and illustrated by Hernan Sosa

The following poem is from Pat Mora's website

http://www.patmora.com/book_pages/tomas.htm

Library Magic

"¡Vamos! Let's go to the library!"

Tomas said to his family.

He showed them his favorite books

and his cozy reading nooks.

"¡Vamos! Let's go to the library!"

Tomás said to his friends. "Hurry!"

They saw libros in stacks and rows.

They laughed at funny puppet shows.

"¡Vamos! Let's all go to the library!"

Join the fun, a treasure house that's free.

Bring your friends and family.

Stories, computers, maps and more,

facts, fun. Enter the magic door.

Like Tomás, open books and soar.

Be a reader. Explore galore.

In memory of the leader, educator and author, Tomás Rivera

© Pat Mora, 2005

Reprinted by permission.

All rights reserved.

Module #3: Hispanic/Latino(a) Literature: A BIRTHDAY BASKET FOR TIA

A BIRTHDAY BASKET FOR TIA

Mora, Pat. 1992. A BIRTHDAY FOR TIA. Ill. by Cecily Lang. New York, New York: Macmillan Publishing Company. ISBN 9780027674002

Plot Summary

The story opens with the day being Cecilia's great-aunt, her Tía's ninetieth birthday. Her mother is busy in the kitchen making preparations for the big surprise celebration. Cecilia wonders what she can do to make her great-aunt's day special. The story takes the reader on a short but loving journey as Cecilia and her cat Chica gather very precious items that represent special times shared between Cecilia and her Tía. When Tía arrives at the house everyone shouts, "Surprise! ¡Feliz Cumpleaños! Tía lovingly takes each item from the basket as she looks adoringly at her niece. Chica jumps in the empty basket. The party begins as the music plays and Cecilia and Tía dance, without her cane.

Critical Analysis

A Birthday Basket for Tía is filled with vibrant, detailed cut- paper illustrations which add warmth and feeling to the story. The skin tones and facial features are those common among Latinos; dark hair and dark eyes. At one point the setting seems to be a rural one perhaps in the southwest because of the inclusion of cactus in the background while flowers cover the ground on the next two pages. Markings on the brightly painted bowl, tea cup and flower pot reflect designs and influence of the Latino culture.

Mora draws from her Mexican-American experiences for this story. She also had a favorite great-aunt and uses other experiences in her works. Short phrases and words in Spanish such as feliz cumpleaños, qué pasa?, piñata, noventa años, bizcochos and hierbabuena allow the reader to participate in the language. The text is fluid and the Spanish/English words do not inhibit the flow of the text. This story of a loving family relationship will allow children of all cultures to identify with the story. Each of us has had a family member that was very dear at some point in our lives. If I were to read this story to my own children they would immediately think of Aunt Ethel who danced, laughed and played with them until the day she died. Gathering items that evoke a special meaning is not only good for the recipient but the giver as well and this theme is portrayed effectively throughout the story. The reader can feel the love and tenderness as Cecilia carefully chooses each item for the birthday basket. Forms of address such as Mamá for mother and Tía for aunt are indicative of the Latino culture. Other cultural markers include foods such as hierbabuena (hot mint tea), bizcochos ( a type of sugar cookie) and the "beans bubbling on the stove." Music is standard fare in Latino celebrations. This is seen when Mamá says, "Here come the musicians," and men with guitars, violins, and brass instruments arrive. When my nephew married, the bride's family had a mariachi band at the reception, and as was their custom they eventually sang the bride and groom off on their honeymoon. We all had a fabulous time and it was quite a lively experience. A piñata filled with candy and little prizes is also at the center of the birthday celebration as well as brightly colored streamers for decorations. A wonderful story celebrating the life of a loved one.

Reviews

"Mora's simple text exemplifies the best of recent multicultural publishing. An honest child centered story." - Booklist

"Young readers will be engaged by the cumulative nature of the story while savoring this family's similarities to and differences from their own." - School Library Journal

Awards/Connections

Southwest Book Award, Border Regional Library Association

Book Links - "A Few Good Books" of 1992

MY GREAT AUNT ARIZONA - written by Gloria Houston

THE RELATIVES CAME - written by Cynthia Rylant

WILFRID GORDON MCDONALD PARTRIDGE - written by Mem Fox

Module #3: Hispanic/Latino(a) Literature: THE AFTERLIFE

THE AFTERLIFE

Soto, Gary. 2003. THE AFTERLIFE. New York, New York: Harcourt, Inc. ISBN 9780152052201

Plot Summary

Chuy, a senior at Fresno High School is sprucing up his appearance in the restroom to impress his girlfriend but is never able to fulfill his desire because his life is cut short by three stab wounds after he pays a compliment to another young man. Chuy feels his life draining from his body as he lies alone and helpless on the nasty, cold restroom floor. The story then picks up with Chuy's "ghost" floating out of the club and into several scenarios where he learns that his life was important and helplessly looks on while his friends and family mourn his passing. As Chuy develops an understanding of what he can and can't do, he meets another teenage ghost, Crystal who seemingly had it all. Chuy discovers a connection between the two other than death and learns about love in the process.

Critical Analysis

How does an author write about death, especially the death of a teenager? Tenderly, with feeling, and insight of unrealized dreams and desires. The story opens with such a force that the reader must continue to discover what will happen next. Action, suspense and disbelief faces the reader as Chuy's fate unfolds. It is hard to imagine how the author will weave a story from what normally might be the end, the death of the main character into one that will keep the reader connected to the characters and the plot. Soto gives depth and dimension to the character of Chuy as we see him go from a young teen without a sense of importance to one of longing, regrets, anger and love. The plot moves swiftly into what happens next as Chuy's ghost floats out of and over Club Estrella. He views his surroundings with wonder as he realizes the characteristics he now possesses; the ability to "slip through walls or doors, but none of what I found on the other side could be mine." "Each step was nearly twice as long as his usual stride." Chuy could make his presence known by sticking his hand into a person's body or breathing close to them. " "...I had no voice other than the icy chill of my breath. I had no other way to reach him than the vague feeling of touch." Most of Chuy's encounters as a ghost are with people that have some type of relationship to his life: a girl from school, his uncle, cousin, parents, classmates as well as his murderer. The feeling of remorse as Chuy realizes lost love is felt when he describes his encounter with Rachel. "That evening I was killed, she and I were going to hook up. I liked her a lot, even when she sometimes taunted me by saying, "You remember when I used to kick your ass?" Rachel, my girl from my childhood. I would go through the pain of yet another deadly exit if it meant one long kiss from her. A swap of tongues, a a tight embrace under the full moon of October." Making amends for past wrongs can be seen in an account of stealing his grandfather's lighter and the remorse he feels as Chuy confesses a crime to his dead grandfather's tombstone, "I stole your lighter." And later when he finally returns to his parent's home he spies a photograph of his grandfather. "In the photo Grandpa's cigarette lighter was on the coffee table. Grandpa was caught off guard; his eyes were half closed. And me? I was looking at the lighter, not at the camera, and could tell by my devilish eyes that I wanted badly to possess it. I had the look of greed." A child usually does not see a grief stricken parent but Soto paints a vivid picture of grief when Chuy encounters his parents. "I brought my hands to my face. I cringed at having to observe my mother and father with their faces were rim the deep sorrow of their only son's death." Teens often wonder where they fit in, what others think about them, and try to make sense of who they are. Chuy discovers he was more than just another kid in school when his ghost arrives at the gym before a game. "Then I spotted a banner with my name on it. There were flowers pinned to the banner, and a lot of signatures and drawn hearts. Did people really like me? I wasn't exactly popular; then again, I wasn't exactly one of those nerdy souls that hug the hallways, looking down at their shoes as they shuffle from class to class. But flowers and hearts?" The bonds of friendship and acceptance are strong with teens. Soto places emphasis on friendship when Chuy describes his feeling for his cousin: " I slowed to a walk and turned around, head down. I loved my cousin, who many years ago tried to unhook me when I was hanging upside down. I would crave his friendship until my body disappeared altogether. Friendship is what I longed for, but nature was telling me to move on." Chuy's ghostly body is slowly disappearing as he visits his past, uncovers his present and wonders about his future. A somber tone is changed slightly when Chuy meets Crystal, another recently departed soul. He shares his experiences of being a ghost and tries to comfort her. Chuy begins to feel real emotion towards the beautiful, athletic Crystal but knows nothing can come of his feelings. "My sorrow for myself and Crystal was as deep as any river." Crystal and Chuy's death share a commonality and that is the reality of their own existence. Each one felt their life was lacking, and only through death were they able to realize the value of their own existence. Chuy and Crystal try to save an homeless man (Robert) from death only to prolong it a few more days. They right the wrongs from the neighborhood bicycle thieves by taking the doors off the hinges which allows the "neighbor" children to take back what was possibly theirs in the beginning. Sharing brief adventures and stories Chuy and Crystal realize they knew each other when Chuy's father worked for Crystal's father. Their relationship deepens as their feelings begin to be focused away from their past"Crystal approached me with the stimps of her arms out. What a rare gift for an average-looking dude like me! To be the object of desire! Crystal leaned her face to mine and gave me a light kiss, then one that was heavier, for her tongue touched mine in greeting. Was a ghost ever so happy?" We do not know what eventually happens to Chuy and Crystal but Soto eases us in to a vivid feeling of closure if that can be possible." We were like the tint of fallen leaves, grass burnt by the first frost, and the ashen-colored fog that sometimes rises from the valley floor and smothers our dreams. I loved her like no other."

Barrera and Quiroa write, "Spanish words and phrases hold considerable potential for enhancing the realism and cultural authenticity of English-based text, specifically by creating powerful bilingual images of characters, settings and themes." A first look at the Chuy shows the reader a young man and his thoughts of what it means to be cool; "You got to dress nice and be Señor GQ. You got to have a little something in your wallet. You got to think, I'll wow the chicas with talk so funny that they'll remember me." In a brief description of a setting Chuy reflects, "And in the apartment complex, the neighbors were probably dunking pan dulce into their coffee and gossiping. Such was the pastime of neighbors - all chismosos and chismosas - with time on their hands." Tenderness is felt when Angel's father addresses him as mi'jo; "Come in mi'jo," his father cooed softly."Soto uses names that are common Latino names such as Chuy, Angel and Jesus. Cultural names such as tía (aunt), tío (uncle), and mi papi (my daddy), to name a few convey a closeness of the Latino family. Actions such as "He was staring at his son, and I know that he longed to hug him, to bring him into his body and say, "I'm sorry for Chuy." He pulled at a tear in the corner of his eye, and plucked off the dead head of a rose that had climbed onto their porch. He crumbled the petals, and scattered them in the flower bed. He went back inside, an ex-Marine who was still all rock." Spanish words such as novio(a), (boyfriend, girlfriend), telenovela, (soap opera) vato, (cool dude) raza, (Latino race) and ay, dios (oh, God) to name a few are mingled throughout the text adding authenticity to the character and the story, while not distracting the reader. A glossary at the end of the novel allows the reader to identify any unknown words.

Typical to any funeral is food. Chuy's parents receive a phone call from someone bringing a cake and Chuy realizes their will be a lot of people gathering, eating and mourning. A cathedral and rosary are the only symbols of the Catholic faith. As Chuy floats through the streets he describes the rundown neighborhoods, the poverty and the effects of that poverty. Physical illustrations are not needed when reading Soto's description of a neighborhood. "I got pushed to Van Ness Avenue toward the west side - Chinatown, as we call it. But the Chinese had moved out, the Japanese, too, and the blacks with ambition. Now there were only boarded-up stores. Winos, crazies, and the truly poor lingered, their eyes bloodshot from drink and illness. Stray cats lived on Dumpster meals. Pigeons feasted on what people tossed from cars and they must have tossed a lot, because litter scuttled in the wind." Soto's descriptions of characters, settings, and feelings make THE AFTERLIFE a compelling read for young adults eve with its unknown ending.

Reviews:

"The author counterbalances difficult ideas with moments of genuine tenderness as well as a provocative lesson about the importance of savoring every moment- a lesson that Chuy, once fretful and insecure comes to understand." - Publishers Weekly

" Soto has remade Our Town into Fresno, California, and he not only paints the scenery brilliantly but also captures the pain that follows an early death." - Booklist

Awards/Connections

TAYSHAS High School Reading List 2004- 2005

Skipping Stones Honor Award 2004

New York Public Library Book for the Teenage

ALA Quick Pick for Reluctant Readers

THE LOVELY BONES by Alice Sebold

THE FIVE PEOPLE YOU MEET IN HEAVEN by Mitch Albom ( for adults with a similar theme)

THE NINTH LIFE OF LOUIS DRAX by Liz Jensen

ELSEWHERE by Gabrielle Zevin