BIBLIOGRAPHY
Say, Allen. 2009. ERIKA-SAN. Boston: Houghton Mifflin Books for Children. ISBN 9780618889334.
PLOT SUMMARY
Erika fell in love with Japan after seeing a picture her grandfather had taken when he was in Japan. She studies about the country and language all throughout school and accepts a job in Tokyo after she graduated from college. It took her a while to find what she considered “Old Japan,” but when she did she immersed herself in the culture and her job.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The plot of this story moves very slow and at times tells years of the story on a single page. For example, one page is used to explain that Erika studied Japanese from middle school through college and moved to Japan after she graduated from college. I was confused by the fact that Erika didn’t know what to expect when she got to Tokyo. Most foreign language classes also include a study of the history and the culture of the people who speak the language. For Erika to think Tokyo still looked like “old Japan” would mean that she hadn’t learned much about modern day Japan.
There are a few Japanese words used in the book and they are directly translated for the reader. Examples are “konnichiwa,” which means hello, “sayonara” which means goodbye, and “komome” which means seagull. The illustrations add authenticity to the story. When Erika first arrives in Tokyo and is greeted by a sea of people, they do not all have the same skin tone and they are dressed in modern clothes. When Erika goes into the Kamome restaurant the menu on the wall is written in Japanese and many things in her classroom are also written in Japanese. In the town she considers “old Japan” the buildings have thatched roofs. On her tour of the town, Aki showed her the rice paddies and a traditional tea house.
Erika takes it upon herself to learn more about the tea ceremony. Although there isn’t much information included about the tea ceremony we learn that you have to wear a kimono and that it takes a lot of practice to get the ceremony just right.
I don’t think this story will hold the attention of children who are between the ages of 4 and 8. There seems to be big gaps in the story that will confuse young children. I think this book is more suited for older readers.
REVIEW EXCERPTS
PUBLISHERS WEEKLY: “With luminous watercolors and economical text, Caldecott Medalist Say (Grandfather's Journey) tells of an American girl whose ingenuous hopes of reaching old Japan are finally realized…Although the plot may prove slow going for many in the target audience, aficionados of Say's tranquil work will find both the message and the delivery deeply satisfying.”
SCHOOL LIBRARY JOURNAL: “Say's exquisite paintings provide backdrop for a charming fairy tale with a contemporary, feminist twist…More romantic and idealistic than many of Say's stories, Erika-San will find readers beyond the usual picture-book crowd.”
CONNECTIONS
-Have students write about a time something wasn’t how they expected it to be
Other books by Allen Say:
MUSIC FOR ALICE. ISBN 9780618311187
HOME OF THE BRAVE. ISBN 9780618212231
GRANDFATHER’S JOURNEY. ISBN 9780395570357
BIBLIOGRAPHY
Park, Linda Sue. 2004. THE FIREKEEPER’S SON. Illustrated by Julie Downing. New York: Clarion Books. ISBN 0618133372
PLOT SUMMARY
Every night Sang-hee's father lights a fire at the top of their mountain to signal that all is well in his village. The signal is passed along the mountain tops to inform the king that there is peace throughout his kingdom. One night when Sang-hee's father hurts his ankle, he is tasked with lighting the fire. He then discovers that he is part of the army for the kingdom too.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The main cultural marker in this book is the story itself. It tells about the tradition of lighting fires to signal to the king that all is well in his kingdom. The firekeepers see the fire on the preceding mountain and light their fire. This signals to the next firekeeper to light their fire. This continues until the fire reaches the king's palace. A note at the end of the books tells us that this story is a much simpler version of what really occurred when this signal system was used in Korea in the early 1800s.
The watercolor and pastel illustrations show the reader the clothing and hair styles of the time and culture. They also show how people lived in Korea with the thatched hut roofs and carrying water in big jars. The illustrations show the beautiful landscape stretching from the ocean to the rolling hills.
A universal theme in this book that children and adults will relate to is that we often have to choose between doing the right thing and doing the selfish thing. Sang-hee was tempted to not light the fire so he could meet the soldiers and see their shining swords. Everyone has been tempted to do something for themselves instead of the right thing and this is a good lesson for young children to see in this book.
This would be a great book to use with an elementary class to teach students about the history of other cultures. It is written in a way that young children will be interested and learn at the same time.
REVIEW EXCERPTS
SCHOOL LIBRARY JOURNAL: “Park's command of place, characterization, and language is as capable and compelling in this picture book as it is in her novels. Set in 19th-century Korea, this story centers around an actual bonfire signal system… Children will be intrigued by this early form of wireless communication, caught up in the riveting dilemma, and satisfied by the resolution.”
BOOKLIST: “Downing's handsome, watercolor-and-pastel double-page pictures personalize the history, showing realistic close-ups of the child, who plays soldiers and dreams of the excitement of battle. In contrast are the panoramic views far across the country as the boy tends the flame that preserves peace from mountain to mountain. Add this to those lighthouse stories about the brave child who must take over for adults.”
CONNECTIONS
-Have students research past forms of communication used in their culture and other cultures.
-Have students write about a time they had to decide between doing what was right and what they wanted to do.
BIBLIOGRAPHY
Lin, Grace. 2006. THE YEAR OF THE DOG. New York: Little, Brown and Company. ISBN 0316060003
PLOT SUMMARY
As she celebrates the Chinese New Year Pacy learns that the year of the dog is meant to be a year of finding yourself and making new friends. She sets out on a mission to discover her talents; she tries acting, being a scientist and finally discovers she can be a writer and illustrator. Along the way Pacy learns more about herself and what it means to be a Chinese-American.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The plot of this story is very easy to follow and will engage readers through the whole story. Although there are many cultural markers, it will be easy for readers from any culture to enjoy this book. One cultural marker found in this book is the fact that Pacy and her sister have different names they go by at home and at school. Pacy's school name is Grace and Lissy's school name is Beatrice. Her sister explains to her that it is easier to go by a different name at school so their names don't get mispronounced all the time.
There is some Taiwanese language found in the book, but all of it is directly translated so the reader doesn't have to guess the meaning. For example, "Gong xi-gong xi! Sin-nian kuai le!" means "Happy New Year." There is some confusion when Pacy is asked over and over "Ja-ba, bei?" which she thinks means "have you eaten." Her mother has to explain to her that although that is the literal translation it is also intended to mean "how are you doing?"
The families eat many authentic foods all through the story. At the red egg party they have "brown stir-fried noodles; cooked duck shiny with oil; fresh lychees with their prickly pink skins; eggplant in brown sauce..." At home one night Pacy had "wonton soup, stir-fried green cabbage, white rice and sticky red-brown spareribs." One tradition that is shown in the book is the red egg party to bring good luck to baby Albert. Everyone puts money in the baby’s crib instead of bringing presents to the part. Not only will Chinese and Tiwanese readers be able to identify with traditions found throughout this book, but readers from other cultures will learn more about these long-standing practices.
When Pacy is told to fill the New Year's dish she runs out of the special Chinese New Year candy so she fills the rest with M&Ms. She is worried that she would get in trouble for putting M&Ms on the special tray but her dad reassures her that it is okay. He says, "This way is good. We should have both Chinese and American candy for the new year. It's like us - Chinese-American." This is very symbolic of many people here in America. They want to hold on to the traditions of their culture, but they also want to embrace the American culture as well. This book has quite a few instances showing the family keeping traditions from their culture, but also learning new traditions from the American culture.
When her school is putting on the play "The Wizard of Oz" Pacy decides she wants to be Dorothy. She practices her lines and songs preparing for the audition. Pacy was hurt when Becky said to her, "You can't be Dorothy, Dorothy's not Chinese." After this she begins to wonder why she doesn't see "real" Chinese people in books, plays and movies. In an author's note at the back of the book Grace Lin says that the main reason she wrote THE YEAR OF THE DOG is so that Asian children can see themselves in a book.
The small drawings throughout the book add a light-hearted feel to the story and remind you of doodles you might find in a child's notebook or journal. An interesting writing style found in this book is the telling of a separate story within the story. They are usually told by another person to explain the way something is to Pacy. The stories start with, "Did I ever tell you about....," then in a different font the story is told from that person's point of view. This is a neat way to include other points of view into the story, and is something that most young people can relate to. Parents often use stories to explain situations and feelings to young kids.
Another way Asian children will relate to this story is when they read about Pacy's experience at the Taiwanese-American camp she attends with her family. Although her family keeps many of the traditions from their culture, they have in many ways assimilated into the American culture. While attending an art class, Pacy gets made fun of and told she is too "American" because she does not speak Chinese or Taiwanese. The other kid tells her that Americanized Chinese people are like Twinkies, "Yellow on the outside but white on the inside." This really hurts Pacy's feelings and makes her feel like she doesn't belong. Many Asian readers will be able to relate to this because they might get made fun of by their peers for trying too hard to fit into the American culture.
REVIEW EXCERPTS
ALA Notable Children's Book
Asian Pacific American Librarian Association Honor
SCHOOL LIBRARY JOURNAL: “A lighthearted coming-of-age novel with a cultural twist. Readers follow Grace, an American girl of Taiwanese heritage, through the course of one year–The Year of the Dog–as she struggles to integrate her two cultures… Small, captioned, childlike black-and-white drawings are dotted throughout. This is an enjoyable chapter book with easily identifiable characters.”
BOOKLIST Starred Review: “Told in a simple, direct voice, her story follows young Grace through the Year of the Dog, one that Grace hopes will prove lucky for her. And what a year it is!... Most of the chapters are bolstered by anecdotes from Grace's parents, which connect Grace (and the reader) to her Taiwanese heritage.”
CONNECTIONS
-Talk to students about traditions they celebrate at home. Have them talk to their parents about the origin of those traditions.
-Grace Lin has created an educators guide. http://www.gracelinbooks.com/files/Year_of_The_Dog_EduGuide.pdf
Other books by Grace Lin:
THE YEAR OF THE RAT. ISBN 9780316033619
WHERE THE MOUNTAIN MEETS THE MOON. ISBN 9780316038638
BIBLIOGRAPHY
Bruchac, Joseph and James Bruchac. 2003. TURTLE'S RACE WITH BEAVER: A TRADITIONAL SENECA STORY. Illustrated by Jose Aruego and Ariane Dewey. New York: Dial Books for Young Readers. ISBN 0803728522
PLOT SUMMARY
TURTLE'S RACE WITH BEAVER is a time-honored story of brain vs. brawn told from the Seneca tradition. The turtle and the beaver meet when turtle discovers that the beaver has taken over his pond while he was hibernating. The beaver does not want to share the pond, so the turtle challenges him to a race and the winner gets to keep the pond as their home.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
A note at the beginning of the story tells the reader that although this version of the story comes from the Seneca tradition, it has been slightly changed by each person who has told the story. Without the authors note at the beginning of the book readers would not know this was a Native American Seneca tale. The only Native American cultural marker I found in this book is that it uses animals to teach a lesson. Using animals to tell stories is not specific to the Seneca culture, but appears throughout all Native American cultures.
The plot of the story will be easy for young children to follow. When the race starts they might expect it to be like the traditional “Tortoise and the Hare,” but they will soon find out that Turtle has some different ideas in this version. A universal theme of this book is that our actions affect other people whether we mean for them to or not. The beaver did not intentionally take over someone else’s habitat; he didn’t know the turtle who lived there was hibernating. But, when the turtle came back the beaver decided that he didn’t want to share the pond with anyone. When he lost the race the turtle offered again to share the pond but the beaver was too ashamed to stay. After originally not wanting to share, Beaver has learned his lesson and shares a new home with a different turtle.
The bright blues and greens of the illustrations help keep young children interested in the story. The facial expressions of the animals help convey what they are feeling. The beaver and turtle are glaring at each other when they are arguing over who’s home should be at the pond. The beaver looks sad when he sees turtle winning the race. When all the animals are gathering for the race, they are drawn to look like they are talking to each other.
REVIEW EXCERPTS
SCHOOL LIBRARY JOURNAL: This delightful folktale closely resembles Aesop's "The Tortoise and the Hare." This appealing variant of the time-honored, cross-cultural tale conveys the need for cooperation, perseverance, and humility within group settings. Children will be so involved in the storytelling that they'll absorb these lessons effortlessly."
BOOKLIST: "A clever twist and a final bit of psychological realism give this variant on a Seneca Indian "Tortoise and Hare" tale unusually broad audience appeal. A natural candidate for reading aloud, and for follow-up discussions, too."
CONNECTIONS
Read another version of The Tortoise and the Hare and compare the two versions.
Have students write a story using animals to teach a lesson.
Other books by Joseph Bruchac
HOW CHIPMUNK GOT HIS STRIPES. ISBN: 0142500216
THE FIRST STRAWBERRIES. ISBN: 9780140564099
BIBLIOGRAPHY
Ross, Gayle. 1994. HOW RABBIT TRICKED OWL AND OTHER CHEROKEE TRICKSTER STORIES. Illustrated by Murv Jacob. New York, NY: HarperCollins Children's Books. ISBN 0060212853
PLOT SUMMARY
A collection of 15 Cherokee stories that center around the mischievous rabbit. These stories have been told orally for generations and show how the rabbit is an important character in Cherokee traditions. These stories explain various attributes of animals such as why the otter has a long tail and why the deer has flat teeth.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The Foreward for the book is written by Chief Wilma Mankiller who is the principal chief of the Cherokee Nation. She writes about the importance of storytelling and how these stories are now preserved for future generations thanks to Ross and Jacob. The back flap of the book tells us that the author, Gayle Ross, is also a direct descendant of John Ross who was the principal chief of the Cherokee nations during the “Trail of Tears.” We also learn that the illustrator is of Kentucky-Cherokee descent. This adds to the authenticity of the book because both the writer and the illustrator are a part of the Cherokee culture.
A map at the beginning of the book shows where the land of the Cherokees and other Native Americans are in the United States. This shows readers that the Cherokee’s are just one of many tribes in the United States and might encourage them to learn more about some of their culture.
There is a little bit of native language used in the book. In “Rabbit Helps Wildcat Hunt Turkeys,” Rabbit has the turkey’s chant “Galagi ‘na hasuyak” over and over again. It is translated in the next line as “pick out your gobbler.” Another story that uses native language is “Rabbit Escapes From the Wolves.” Rabbit has the wolves sing “Tlage’situn’ gali’sgi’sida’ha Ha’nia lil! lil! Ha’nia lil! lil!” which is also translated in the next line to mean “on the edge of the field I dance about.” I think this use of native language adds to the authenticity of the book. It is not so much that it takes away from the stories, but it lets the reader know that the Cherokee have their own language and gives them an idea of what it sounds like.
These tales center on the Rabbit who is an important figure in Cherokee story-telling. He is known as the “trickster-hero.” The first story lets the reader know that the animals in the stories are not much different than humans, “in those days, the animals had a society that was organized very much like the people’s.” Children will enjoy the personification of the animals and how they interact with one another. The full-page illustrations show the animals dressed in traditional clothing. The illustration for each story explains an important part of the message for that story. In “Why Possum’s Tail is Bare” the illustration has Possum lying on his back on the ground with a long skinny tail.
Although each story can stand-alone, readers will enjoy the collection that includes stories of Rabbits triumphs and some of his follies.
REVIEW EXCERPTS
PUBLISHERS WEEKLY: "Ross and Jacob, both of whom are of Cherokee descent, produce an unusually rich debut picture book in retelling 15 tales about Rabbit, a central figure in Cherokee storytelling... Unusual artwork presents textured still lifes, like tapestry wall-hangings; these convey both the history and morality of the stories and, at the same time, portray splendid detail. A handsome, informative collection."
SCHOOL LIBRARY JOURNAL: "Fifteen short, action-oriented tales about Rabbit, the Cherokee trickster hero... Traditional manners and morals, culture, and spirituality are lightly woven into the selections... Although the stories are a bit repetitive, all in all this is a sweet offering that will be an enjoyable addition to any collection."
CONNECTIONS
-Read other books by Gayle Ross:
HOW TURTLE’S BACK WAS CRACKED: A TRADITIONAL CHEROKEE TALE. ISBN 0803717282
THE LEGEND OF THE WINDIGO. ISBN: 08037178977
-Have students research other versions of one of these stories and see how they are similar and different.
BIBLIOGRAPHY
Smith, Cynthia Leitich. 2001. RAIN IS NOT MY INDIAN NAME. New York, NY: HarperCollins Children's Books. ISBN 0688173977.
PLOT SUMMARY
Right before her fourteenth birthday Cassidy Rain Berghoff realizes she has romantic feelings for her best friend Galen. After a wonderful night with Galen she wakes up the next morning to learn that he was killed on his way home from her house the night before. For six months she isolates herself from her friends and family. Only when she is asked to take pictures of local Indian Camp does she begin to deal with her feelings and reconnect with her heritage.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This is story gives us a contemporary view of Native Americans. It is mentioned in different places throughout the book that Rain is proficient with technology, enjoys reading and is on the honor roll at school. This is a positive example of a love of learning in a culture that has low high school graduation rates. The journal entries at the beginning of each chapter give the reader more information about Rain’s life and family. One entry tells us that she is Muscogee Creek-Cherokee on her mom’s side and Ojibway on her dad’s side. Instead of grouping all Native Americans into one culture, this book gives specific names and even gives some traditions of each culture.
The names of the characters in this book are not Native American cultural markers. Galen, Cassidy, Fynn, Dmitri and Marie are not names specific to Native Americans. The only name that is explained as significant to the Native American culture is Aiyana which is Cherokee for “forever flowering.”
Rain struggles at times with deciding whether or not she wants to claim her Indian heritage. When given an assignment to dress like an important person Rain originally wants to dress as Sacajawea or Pocahontas, but ends up choosing Nancy Kassebaum, a former senator. I think there are a lot of teenagers that can relate to her struggle to want to represent her heritage but also being fearful of getting made fun of by representing her Native American heritage.
When thinking about whether or not to attend Indian Camp, Rain thinks about how it feels to be an Indian in Hannesburg and wonders if it has something to do with the way the schools teach about Indians. One quote in particular from this book gives us an insider’s perspective on teaching the traditional Thanksgiving story. “At school the subject of Native Americans pretty much comes up just around Turkey Day…the so-called Indians always look like bogeymen on the prairie.” It seems this unauthentic representation embarrasses Rain and makes her feel like an outsider in her own town.
One part of this book made me think about how we ask others about their heritage. Rain says that people ask her “How much Indian are you?” and “Are you legally Indian?” She then goes on to say when Native people ask her about her heritage they ask more specific questions about tribal affiliation. She also says that a lot of people tell her “You don’t seem very Indian.” This obviously upsets her, but then later on in the book she catches herself about to tell the Flash, “You don’t seem very Jewish.” I would assume that most people are just trying to get to know her, but this shows us that it is important to be mindful of how your words sound when you are asking people about their heritage.
One part of this story that relates to others outside the Native American culture is having to deal with the grief of losing a best friend or loved one. It is important for teenagers to know that everyone deals with grief in different ways and this is just Rain chose to deal with losing her best friend.
REVIEW EXCERPTS
PUBLISHERS WEEKLY: " Multiple plot lines and nonlinear storytelling may make it difficult to enter Smith's (Jingle Dancer) complex novel, but the warmth and texture of the writing eventually serve as ample reward for readers... readers will feel the affection of Rain's loose-knit family and admire the way that they, like the author with the audience, allow Rain to draw her own conclusions about who she is and what her heritage means to her."
SCHOOL LIBRARY JOURNAL: "There is a surprising amount of humor in this tender novel. It is one of the best portrayals around of kids whose heritage is mixed but still very important in their lives. A wonderful novel of a present-day teen and her "patchwork tribe."
CONNECTIONS
-Have students research their heritage and report back to the class.
-Have students research different Native American tribes and their cultures.
-Read with a group of students who are dealing with the grief of losing a loved one.
BIBLIOGRAPHY
Soto, Gary. 2006. ACCIDENTAL LOVE. Orlando: Harcourt, Inc. ISBN: 9780152061135.
PLOT SUMMARY
Accidental Love is the story of an unlikely romance between Marisa, a large Hispanic girl, and Rene, a “muy wimpy” nerd. When their cell phones get switched during a fight, Marisa and Rene meet so they can get their phones back. Marisa finds herself drawn to Rene who is her complete opposite. As they get to know each other they find out that opposites do attract.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
This easy to follow plot mirrors the “Romeo and Juliet” play that Marisa and Rene are part of at school. Although Marisa and Rene are in love, his mother does not approve of their relationship and tries many ways to keep Rene and Marisa apart. Part of this book that is not specific to the Hispanic culture is the abuse Rene receives from his mother. There are hints to this abuse throughout the book, such as when Rene says, My mom pinched me right here… [he] unbuttons his long-sleeved shirt so Marisa can see the bruise.” It is not until the end of the book that the reader gets a sense of how bad the abuse had been, so bad that Rene moves in with his father. Although this is a very serious subject, it does not overpower the main plot of the story.
There are Spanish words found throughout the book that make it more authentic. Marisa uses more Spanish words when she is talking to her friends and family who speak Spanish, which makes the dialogue realistic. The intermingling of Spanish and English words when talking is an accurate portrayal of how Hispanic teenagers talk, especially to each other. When Marisa is talking to her friend Alicia she says, “You’re mala. Your mom and dad’s going to find out.” Also adding to the authenticity of the dialogue is when Rene doesn’t understand what Marisa means when she says, “Well, Mr. Confidence, I have never had a beso laid on me.” This happens quite often when people who have different primary languages are communicating.
Many relational terms are also used such as “mi’ja,” “tia,” and “novio.” Many of the first names used could come from different cultures, but the two last names that are in the book are common Hispanic last names, Rodriguez and Torres. There is not much mention of music in the book, but Marisa makes a reference to a CD that her mom is listening to while washing dishes. The CD is Linda Ronstadt’s Canciones de mi Padre.
A big emphasis is put on the food Marisa’s family eats for dinner. Some examples of their dinners are “albondigas,” “frijoles,” “enchiladas,” and “tamales.” Realistically, Marisa and her family eat other food besides Mexican food such as ice cream, chips, and donuts. Most of the Spanish words can easily be figured out in context, but there is a Spanish glossary at the back of the book if needed.
Overall, you can tell when reading this book that it is a piece of Hispanic literature, but that will not keep teenagers from different cultures from picking it up and reading it.
REVIEW EXCERPTS
SCHOOL LIBRARY JOURNAL: “A cell-phone mix-up leads to first love in this warmhearted, humorous novel. Soto's portrayal of Marisa's family, friends, and neighborhood–in a novel peppered with Spanish words and teen slang–is set in a world where poverty, drugs, and early pregnancy are acknowledged but don't dominate the story.”
BOOKLIST: “After a scuffle with the "sorry rat" who broke her best friend's heart, 14-year-old Marisa grabs the wrong cell phone. It belongs to Rene, a "muy wimpy" chess player who attends a magnet school across town. Soto deepens this gentle romance between opposites with subtle, authentic glimpses of an uncertain world, where adults don't always provide protection and nurturing. With humor and insight, he creates memorable, likable characters in Marisa and Rene, who find support and love by valuing authenticity and sweetness over cool.”
CONNECTIONS
-Have students write another unlikely "Romeo and Juliet" story.
-Have students discuss/write about at time they learned something from someone who was their opposite.
BIBLIOGRAPHY
Johnston, Tony. 2009. MY ABUELITA. Illustrated by Yuyi Morales. Boston: Harcourt Children’s Books. ISBN 9780152163303
PLOT SUMMARY
MY ABUELITA is a story about the relationship between a boy and his grandmother. He goes through their morning routine as his grandmother gets ready for her job. The boy gives us hints throughout the book as to where his grandmother works but it is not until the end that you discover how she is perfect for her job. The unique illustrations and heart-warming story will appeal to children from all cultures.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
The plot is easy to follow and will keep readers wondering what the grandmother does for a living. We get clues throughout the book of how she uses her voice a lot of different ways for her job. As she gathers her supplies there is a “Dia de los Muertos” doll which in symbolic of the Hispanic “Day of the Dead” holiday. All through the story we can see how much the boy adores his abuelita.
The story is set at their shared house, but there is no mention of where the house is located. There are many cultural markers found in the house such as the bold colors that decorate the walls. There are also lots of bright colors incorporated into all the fabrics found in the house.
The illustrations are very unique and eye-catching. A note at the beginning of the book tells us “The illustrations in this book were created with polymer clay, wire, felting wood, acrylic paints, fabric, wood, metals, and Mexican crafts, the photographed and digitally manipulated.” The illustrations really bring the words on the page to life. When the boy says “She looks like a great big bee” the accompanying picture is of the boy, his grandmother, and Frida Kahlo, the cat, flying with wings.
Spanish words are used throughout the story and add to the Hispanic authenticity. Abuelita is used every time he refers to his grandmother and it does not seem forced or out of place. Some of the words are common such as vamanos, and chile, Other words are less common such as carcacha, and pantuflas. All of the Spanish words are defined, so there is no confusion as to their meaning.
Another cultural marker is having the boy and his abuelita (grandmother) living under the same roof. At the beginning of the book he says, “I live with my grandma. And she lives with me. I call her Abuelita.” It is not uncommon to find three generations of the same family living together in a house. One of the benefits of this is the close relationship of the boy and his grandmother. The boy looks up to his abuelita and wants to be like her when he grows up.
REVIEW EXCERPTS
SCHOOL LIBRARY JOURNAL: “While the story is firmly placed in a Mexican context, children of all ethnic and racial backgrounds will be drawn to the eye-catching illustrations and the universal story of a loving intergenerational relationship”
BOOKLIST: “A young boy narrates an affectionate ode to his beloved grandmother in this fanciful picture book . . . the many Spanish terms are well defined within the boy’s engaging and poetic narrative, in which he conveys his admiration and affection for his appealingly peppy grandmother . . . the eye-catching, mixed-media illustrations, sparked with bright patterns, textures, and color, will help reinforce the meaning in the words. A charming tribute to family and the joys and inspiration that storytelling can bring."
CONNECTIONS
-Have students write about their relationship with a grandparent or relative
-Show art students this book before they make clay models
BIBLIOGRAPHY
Mora, Pat. 2010. DIZZY IN YOUR EYES: POEMS ABOUT LOVE. New York: Alfred A. Knopf. ISBN 9780375843754.
PLOT SUMMARY
DIZZY IN YOUR EYES is a collection of 50 poems written about love through the eyes of a teenager. The poems are not just about love for a girlfriend or boyfriend; they are also about love for family, music and pets. Readers will enjoy the variety of structure in the poems including free verse, haikus and sonnets.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Pat Mora has written a book that includes free verse poems and 20 other different types of poems. Each form of poetry is explained in a couple sentences on the preceding page. The explanation includes the structure and sometimes the origin of that form and why she chose that form for each poem. Some readers might be drawn to this book after reading some of Pat Mora’s children’s books when they were younger.
The varying subjects of the poems will keep readers interested throughout the book. This book has been nominated for a Quick Picks for Reluctant Young Adult Readers list and I think it would be a good choice to recommend for students who are not avid readers. The poems are easy to follow and fairly simple to interpret.
There are few cultural markers found in this book. A handful of the poems have Spanish words intermingled in them. Some just have a word or two such as “cholla”, ‘Papi”, and “corazon.” Another poem is a conversation between someone who speaks English and someone who speaks Spanish. This poem in particular will speak to readers who are learning English and it also shows the difficulties of communicating with someone who speaks another language.
Although there are Spanish words throughout the book, most of the poems are not specific to the Hispanic culture but relate to teenagers in all cultures. Almost every teenager can relate to the themes of love, hope, heartbreak and doubt.
REVIEW EXCERPTS
Dizzy in Your Eyes has been nominated for the Quick Picks for Reluctant Young Adult Readers 2011 List.
SCHOOL LIBRARY JOURNAL: “A collection of poems written in various forms, each narrated in a different teen voice… Peppered with Spanish, the selections define the emotion in countless ways. The quiet lyricism of some lines will prompt many readers to roll them over and over on their tongues.”
BOOKLIST: “From family and school to dating and being dumped, the subjects in these 50 poems cover teens’ experiences of love in many voices and situations. Several entries incorporate Spanish words and idioms, as in “Ode to Teachers,” a moving tribute in English with a Spanish translation. A few poems hit a too-sweet tone with forced rhyme, but the best are wry, passionate, casual, and honest”
CONNECTIONS
-Have students pick a form of poetry from the book and write their own poem.
-Pick a poem for students to read and have them write a response to the poem.
