Culture 6 - Moses Goes to a Concert

A. Bibliography

Millman, Isaac.1998. Moses Goes to a Concert. Canada: Farrar, Straus and Giroux. ISBN 0374350671.

B. Plot Summary
The story opens with Moses playing his drum. He is walking with his dog and his shoes are off and he is beating a new drum his parents gave him. The reader then learns that Moses is deaf and his shoes are off so he can feel the vibrations through his feet. The next day Moses and his class, including his teacher, Mr. Samuels, are going on a field trip to a concert. All of Moses' classmates are also deaf and speak in sign language as well as Mr. Samuels. The children learn that Mr. Samuels has a surprise for them in a black bag he is carrying. As they arrive at the concert they sit in the front row. Mr. Samuels explains that a friend of his is a percussionist that is playing in the concert today. As his friend comes out on stage, the children notice that she does not have shoes on. Mr. Samuels explains that she is deaf.

He then passes out balloons to each child, and instructs them to hold them in their lap to help them feel the vibrations of the concert. After the concert the children get the opportunity to meet Mr. Samuels friend and play her different instruments. After talking with her they return to school. When Moses goes home he tells his parents all about the concert and how he wants to be a percussionist when he grows up.

C. Critical Analysis
This is a wonderful, heart-warming story about setting goals and achieving them no matter what obstacle might be in your way. It has many cultural markers that contribute to the authenticity of this book. The characters are authentic and reflect the realities of people who are deaf. The book represents what deaf people must do in order to enjoy music or a concert by feeling vibrations through a balloon and their feet or hands.

Moses, his classmates, and his teacher are balanced characters. They are school-aged children attending a field trip with their teacher. Their clothing is that of what school children typically wear to school. The only difference is that Moses and his classmates are deaf, but they are still able to enjoy the concert. The contemporary setting is is also consistent with our contemporary time, including clothing, modes of transportation (school bus), and the general environment of the story.

The themes, values and illustrations in this book are consistent with those in the deaf community. Throughout the entire book sign language is demonstrated along with the text. Either Moses is signing or the musician, Ms. Marjorie Elwyn, is signing with the printed text at the bottom of the page. The movements to the sign language illustrations is explained in the author's note on the first page of the book. Along with this translation, the author Isaac Millman also explains the research he did while writing this books and gives credit to two deaf teachers who helped him get the sign language diagrams correct for the book. The author's attention to detail also contributes to the authenticity of this book. The theme in the book, as Moses signs is, "When you set your mind to it you can become anything you want when you grow up." He then tells his parents that he want to be a percussionist when he grows up.

Moses Goes to a Concert is also rich in cultural details of the deaf community. It explains how deaf people are able to enjoy music. The signing throughout the book helps the reader understand how deaf people communicate and gives them an opportunity to learn how to sign, along with the complete American Sign Language alphabet in the back of the book. This book also celebrates diversity along with the common bonds of humanity. Moses and his classmates are excited about the concert and they celebrate their diversity by embracing the different ways they are able to enjoy music - first of all, through their feet when their shoes are off and also by holding a balloon in their lap and feeling the vibrations. These different ways to experience music were celebrated in the story.

The book includes members of a minority group for a purpose. The deaf community is well represented throughout this book and gives the reader a glimpse inside a the world of a non-hearing person discovering new things about a group that they might not know that much about. Finally, this book has an appealing format and an enduring quality. The illustrations and text compliment each other well and help communicate the ideas the book is intended to express. The sign language translations are easy to read. The illustrations are endearing. I especially enjoyed the friendship and excitement that Moses and his friend John shared. This is a great book to introduce students to the deaf community, and it would also be a great book for students who are hearing impaired to identify with.

D. Review Excerpts
Publishers Weekly: "The seemingly incongruous premise of this harmonious debut, a class of deaf children attends an orchestral concert, leads to a revelation for readers who may well have assumed that the ability to hear is a prerequisite for enjoying music. Holding balloons that their teacher passes out to help them "feel the music," Moses and his classmates are thrilled to pick up the vibrations. Afterwards, they visit with the orchestra's deaf percussionist, who intriguingly, performs in stocking feet so she, too, can feel the beat. She lets the students play her instruments and,using American Sign Language, explains how she worked hard to achieve her career goal.

School Library Journal: "Cheerful watercolor illustrations show the multiethnic children enjoying themselves, while smaller cartoon strips feature Moses' additional comments in sign language. A page displaying the manual alphabet and a conversation in sign language in which Moses tells his parents about his day enhances the upbeat story."

E. Connections
To read more books about the deaf community, please check out the following books
Milliman, Isaac. Moses Sees a Play. ISBN 0374350663.

Milliman, Isaac. Moses Goes to the Circus. ISBN 0374350647.

Aseltine, Lorraine. I'm Deaf and It's Okay. ISBN 0807534722.

Lakin, Patricia. Dad and Me in the Morning. ISBN 0807514195.

Heelan, Janeen Riggio. Can You a Rainbow? ISBN 1561452688.

Culture 6 - King and King and Family

A. Bibliography
de Haan, Linda and Stern Nijland. 2004. King and King and Family. Berkeley, California: Tricycle Press. ISBN: 1582461139.

B. Plot Summary
King Lee and King Bertie are off on their jungle honeymoon. Carrying a suitcase and a backpack they soon discover they have a stowaway, traveling companion, their cat Crown Kitty. The three of them set off to see all the jungle animals. They were greeted by all the jungle animals and their babies. King Lee and King Bertie remarked on what great parents the animals were. They crossed bridges, swung on vines, and floated down the river. While they were floating down the river they had an odd feeling they were being followed. King Bertie conveyed his concerns about being followed in his travel journal. He states, "Day two - We reached the fork in the river today. There was something following us in the water last night. The Crown Kitty was shaking in her hiking boots!" The night before they returned home both kings were reminiscing on how wonderful the trip has been. King Bertie also remarked about the animals and their babies and expressed how nice it would be to have a "little one of our own." When they returned their friends had a party for their homecoming. During the party a young girl from the jungle popped out of their suitcase. King Bertie and King Lee exclaimed,"You're the child we've always wanted." The story ends as King and King fill out adoption papers and have a party for their new Princess Daisy.

C. Cultural Analysis
King and King and Family is the sequel to King and King. This book has many cultural markers that contribute to the authenticity of the story and the celebration of family diversity. The setting of the story takes place in the jungle and the colorful plants and animals compliment the curious and fun-loving atmosphere. It is a whimsical story and the setting contemporary setting is consistent with the plot.

The themes, values and illustrations developed in this book are also consistent with the family dynamics of this story. King and King have recently been married and they are on their honeymoon to the jungle. While in the jungle the remark on how good of parents the jungle animals are: "Such good parents!" said King Lee. The illustrations of the jungle parents taking care of their young are consistent with the text in the story. King and King also express their desire to have family of their own. Both the text and illustrations compliment each other by expressing this need for a family.

This book honors and celebrates diversity as well as the common bonds in humanity. Throughout the story King and King are represented both in text and illustrations as a happy couple with a strong relationship . This is especially shown when they are reflecting on their enjoyable trip the night before they depart from home. The text states, "It's been a wonderful trip," King Lee said. "I can't wait to tell everyone about everything we've seen." "All those animals with their babies," King Bertie sighed. "I wish we has a little one of our own." This desire to have a family honors the common bonds of humanity as well as celebrating the diversity of families.


This book also includes members of a minority group for a purpose. The theme of this books celebrates the the diversity of families. King and King are two people who share their life together and want to have a family to share the happiness they have with their child. This family theme was carried out and demonstrated throughout the text, with the use of the jungle animals and their babies, even the use of Crown Kitty showing up on their trip contributes to this family them because the three of them saw the jungle together.


The illustrations were rendered in mix media. Collage, paint, drawing, writing, bright and bold colors were all thing used in the illustrations to compliment the setting of the whimsical tone of the jungle. The illustrations also complemented the text description. For example on one page the text was talking about how all the animals and their babies came out to greet them. On the next page the text states, "The mosquitoes had also turned out to meet them." The illustration shows the two kings and Crown Kitty swatting mosquitoes in a dancing motion while spraying mosquito repellent into the air. As the mosquito repellent is being sprayed, the spray is represented in colorful stars of all different shapes.


Finally, King and King and Family has an appealing format and can be seen as enduring to readers. Although, the book does address the issue of sexual preference, the story invites the reader along on their journey and shows readers that families can come in many different shapes and sizes. Children who live in similar can identify with this books and feel comfortable that there are other children who have similar experiences.

D. Review Excerpts
School Library Journal: In this follow-up to King and King (Tricycle, 2002), King Lee and King Bertie have just married and embarked on a honeymoon. As they fly off to the jungle country, the two men soon discover that their cat has stowed away in their suitcase. The travelers happily tramp through the wilderness and paddle down a river, observing the wildlife as they go. Before long, they have a strange feeling that something is following them. Upon returning home, they discover another stowaway in their suitcase - this time it's a young girl form the jungle, whom they joyfully adopt and everyone lives happily ever after. The mixed media collage illustrations are colorful with lots to look at on each page - perhaps too much, as some of the spreads are a bit cluttered."

Publishers Weekly: "By offering this enduring portrait of a diverse group, the authors promote the important message that love flourishes in traditional and nontraditional families alike."

E. Connections
To read more about nontraditional families, please read the following books:

de Haan, Linda and Stern Nijland. King and King. ISBN 1582460612.

Richardson, Justin. And Tango Makes Three. ISBN 0689878451.

Valentine, Johnny. One Dad, Two Dads, Brown Dad, Blue Dads. ISBN 1555838480.

Parr, Todd. The Family Book. ISBN0316738964.

Newman, Leslie. Heather has Two Mommies. ISBN 1555835430.

Culture 5 - Knock on Wood: Poems about Superstitions

A. Bibliography


Wong, Janet S. 2003. Knock on Wood. Ill.by Julie Paschkis. New York, NY: Simon & Schuster. ISBN 0689855125.

B. Plot Summary

Knock on Wood is a collection of seventeen poems all about a variety of superstitions that are from many different areas around the world. Janet Wong also included descriptions in the back of the book about each superstition she writes about. For example one of the poems is about a broken mirror and when the reader reads the superstition page in the back about mirrors it states,"Mirror: If a broken mirror is like a broken spirit, burying the mirror lets the spirit rest and repair itself." Wong also includes an author's note explaining what inspired her to write this book. Her grandparents taught her about superstitions when she was a young child and it wasn't until she was adult that she started thinking about luck. It was at that time that she "became superstitious." She began remembering all the different superstitions from her youth and then began researching different superstitions.

The range of superstitions include poems about the following: cats, clovers, ears, garlic, hair, hats, horseshoes, keys, ladders, ladybugs, mirrors, potatoes, roosters, salt, the number thirteen, umbrellas, and wood. The folk art watercolor illustrations and color choice add to the mood of each poem.

C. Critical Analysis

The author, Janet Wong, was born in Los Angeles. She is the child of Korean and Chinese immigrants. Although she does credit her grandparents with introducing her to superstitions, Knock on Wood is centered around 17 different superstitions from different geographical locations and legends of long ago. There are superstitions from Egypt, medieval Europe, China, and Adam and Eve in biblical times. Even though she does not list the origins of every superstition, in the author's note she does write about researching using "Cassell Dictionary of Superstitions (Cassell, 1995) and asking her friends about what their parents had told them."

The poems represent many different types of poetry: free verse, rhyme, quatrain, and haiku. The illustration by Julie Paschkis add to the mood of the poem. For example in the poem "Hat" Pashchkis places a variety of many different yellow toned hats on an inviting blue background. On the left side a young sailor is drawn paddling a brown hat used as a boat in a turquoise body of water. On the other page the poem is displayed in a hat frame that adds to the details of the poem.

This is a delightful book that would be a great classroom read aloud to introduce and begin or continue a discussion about superstitions. It would be appropriate for third grade and as high as sixth.

D. Review Excerpts

School Library Journal: "Itchy ears, broken mirrors, and hats worn backward join wood spirits, ghosts, and of course black cats in this imaginative exploration of common and lesser-known superstitions. The shapely poems are infused with fey imitations in keeping with the collection's theme: "It is said/salt is magic. The our kind, sea crystals./Spilled salt is magic flung wild." Some selections are haunting, and some humorous, as in this glimpse of a vampire's downfall: "All you bloodsuckers,/ this is your last chance:/ I am one bite/ away-/from a hunk/of Mother's famous garlic chunk chicken." Paschkis creates an exquisite backdrop for the verses. Presented on a panoramic spread, each poem and facing watercolor scene have matching frames, anchoring them as reflections of one another. Some of the borders are abstract designs, but others are suggestive of elements in the verses."

Booklist: The creators of Night Garden (2000) offer another beautifully illustrated collection of poetry, this time celebrating the rituals and beliefs that make up superstitions. Children will easily recognize many of the poems' subjects: black cats, vampires and garlic, fear of ladders. Bu some notions are more unusual: putting potatoes in a pocket to cure arthritis. A few poems are uneven, with forced rhymes or obscure meaning: "Stand bearheaded in the rain / to cure a baldness in the brain," for example. But children will find the subjects compelling, and many of the poems have a sly humor and haunting, lyrical imagery."

E. Connections

To read more poems by Janey Wong, please check out the following books:

Wong, Janet. Night Garden: Poems from the World of Dreams. ISBN 1416968164.

Wong, Janet. Twist: Yoga Poems. ISBN 0689873948.

Wong, Janet. The Dumpster Diver. ISBN 0763623806.

Wong, Janet. The Rainbow Hand: Poems about Mothers and Children. ISBN 0689821484.

Wong, Janet. Good Luck Gold and Other Poems. ISBN 1416964525.

Wong, Janet. You Have to Write. ISBN 0689834098.

Culture 5 - Tree of Cranes

A. Bibliography

Say, Allen. 1991. Tree of Cranes. New York, NY: Houghton Mifflin Company. ISBN 039552024x.

B. Plot Summary

The story takes place in December 25th in Japan. The story opens to a young boy playing near a neighbor's pond. The reader quickly learns learns that this activity was frowned on by is mother because she feared he would fall in or become ill, which is what happened. When the young boy came home he had the chills and was warm to his mother's touch. As his mother quickly sends him to take a warm bath, the boy notices that his mother is distracted and fears she is very upset with him because he has ventured to the pond. He later learns, when his mother enters his room with a tree she dug up from the yard, what his mother has been so preoccupied with. When his mother comes into the room she explains why she has been acting "strangely" all day. "Today is a very special day in that warm place. If you happened to be there now, you would see trees like this everywhere, all decorated with winking lights and small globes of silver and gold..." His mother goes on to describe and explain that it Christmas day in California, where she came from. Then the young boy and his mother proceed to decorate the tree with beautiful origami cranes his mother has been making all day and candles. The boys goes to sleep that night telling his mother what he wishes for and in return the boy's mother express her wish that the young boy promises to never go the pond again. The next morning the young boy awakes to a samurai kite, his one wish, under the tree he and his mother decorated. The boy quickly runs outside to fly his kite only to discover that snow covers the ground and flying a kite will not happen today. So the young boy and his father make a snowman together.

C. Critical Analysis

Knowing the author's background is an important cultural maker that should be mentioned. Allen Say, both author and illustrator, was born in Yokohama, Japan. On the back cover of Tree of Cranes it states,"He apprenticed himself at age 12 to a famous cartoonist. When he was sixteen, he came to California, where he continued his art studies. he now lives in San Francisco." Being a native resident of Japan for 16 years Allen Say is well versed in Japanese culture and brings cultural authenticity to the books he writes and illustrates.

Fox and Short, authors of Stories Matter: The complexity of cultural authenticity in children's literature, state regarding the interpretation of authentic art, "The art form should serve its purpose, that is, the content of the story - helping readers visually perceive the accurate images of the characters and enriching the story with a detailed depiction of cultural reality"(2003, p.210). Tree of Cranes illustrations enhance the story by adding visual details of the characters and add to the cultural reality of the story.

The setting of this book was Japan. There are cultural markers that contribute to the culturally authenticity of this book. The cultural markers are mainly noted in the illustrations. When examining the cultural markers for the illustrations several are present. The main characters in this book are the boy and his mother. When examining the illustrations, the skin tones between both characters are different if only slightly.

The facial features, especially the eyes, are also different. The eyes do show pupils and denote facial features in the boy and the mother. The clothing is traditional Japanese clothing to the best of my knowledge of what I know about traditional Japanese dress including kimonos and sandals. The young boys outside clothes are also briefly described and beautifully illustrated on the first page of the book when he is at the pond. "When I was not old enough to wear long pants, Mama always worried that I might drown in a neighbor's pond." The watercolor illustration that accompany this brief description shows a bow bending over a stone reaching into the pond with a stick. Say dressed the boy in navy shorts, long navy socks, brown shoes, a lighter blue jacket, and a vibrant red scarf. The hair styles and textures also represent traditional Japanese hair styles and textures. The young boys hair is a dark brown color with a straight texture. The mother's hair is black and pulled back offer her face in a ponytail with three rubber bands.

When examining the architecture in the illustration a traditional Japanese home is represented. The house is built of wood with a black stone porch. Once inside it has wooden sliding doors between the rooms, wooden floors, and heavily framed windows with no coverings. The bath tub is a large wooden box.

When examining the text there are a limited number of cultural markers. Celebrations are briefly mentioned when the young boys mother ask the boy, "Do you know what today is?" "Ah... seven days before the New Year's Day." The mother agrees with the boy and then explains that today in the country where she is from it is also a day called Christmas. Say presents this knowledge regarding both celebrations in an informative, non-threatening way that introduces the readers to both culture's different celebrations.

Food is also addressed in the text. When the mother discovers the boy feels feverish and after he takes a bath the boy asks the mother to read him a story. his mother responds, "No stories. But I'll make you hot lunch." The boy replies, "I knew what that meant. rice gruel. Only sick people ate rice gruel." When his mother serves him his lunch in his room it is presented on a tray with a bowl of rice gruel, a cup of tea, a sour plum and radishes. The illustration pictures the boy eating his hot lunch with chopsticks.

Another cultural marker that should be noted is the representation of culturally pluralistic themes. The mother is explaining a custom that she used to celebrate in the California before moving to Japan. The book does not necessarily express the difficulty of cultural assimilation, but rather the mother's desire to introduce this celebration and custom to her young son who has never experiences Christmas before.

This book also presents a strong plot and characterization. The mother is determined to introduce this custom to her young son and at the same time the boy is eager to know about. The way she introduces the idea of Christmas with the tree she dug up from their yard, the origami cranes, and candles they decorate the tree with blends the two cultures seamlessly in order for the boy to understand this foreign celebration. The book closes with an illustration of the snowman sitting in the yard and a light in the young boy's house. The text states, "And like the snowman we made, many years have melted away. But I will always remember that day of peace and quiet. it was my first Christmas." This book would serve as a wonderful introduction to different celebrations and customs around the world, especially for children who have never celebrated Christmas before.

D. Review Excerpts

Publishers Weekly: "Heedless of Mama's warnings, a Japanese boy cannot resist playing at an ice-cold pond "filled with carp of bright colors." When he comes home, he is immediately treated for a cold, with a hot bath and rice gruel. His mother's attitude chills him more than the weather, though; he cannot understand why she seems to be ignoring him. Hearing a noise in the garden, the bot spies Mama digging up the pine tree that was planted when he was born. She brings it inside and decorates it with paper cranes and candles."

Kirkus: "Say's exquisitely designed illustrations are as elegant as those for The Boy of the Three -Year Nap (1998, Caldecott Honor). Geometric forms in the austere Japanese architecture provide a serene background for softer lines defining the appealing little boy and his pensive mother. As in Say's other books, there is an uncompromising chill here from parent to child: it's true that the boy disobeyed, that his mother warms him and feeds him, and that they share the tree's beauty; still, her longing for "peace and quiet" seems exclusionary, and her cold uncommunicativeness while preparing the lovely tree is at odds with its message."

E. Connections

To read about more books by Allen say, please check out the following titles:

Say, Allen. Tea with Milk. ISBN 0395904951.

Say, Allen. Grandfather's Journey. ISBN 039552024x.

Say, Allen. Under the Cherry Blossom Tree: An Old Japanese Tale. ISBN 061855615x.

Say, Allen. Kamishibai Man. ISBN 0618479546.

Say, Allen, The Bicycle Man. ISBN 0395506522.

Say, Allen. Emma's Rug. ISBN 0618335234.

Culture 5 - The Earth Dragon Awakes

A. Bibliography

Yep, Laurence. 2006. The Earth Dragon Awakes: The San Francisco Earthquake of 1906. New York, NY: Harper Collins Publishers. ISBN 0060275243.

B. Plot Summary

The Earth Dragon Awakes is a historical fiction novel. The characters are fictional, but the book is based on the actual events that occurred in April of 1906 when the earthquake struck and caused "The Great Fire" of San Francisco. As stated earlier the setting of the book is in April 1906 in San Francisco. The book opens Tuesday, April 17th, the day before the earthquake hits. The novel is centered around two groups of main characters. The Travis family which lives in a well to do area of San Francisco. There is Mr. and Mrs. Travis and their son Henry. The other main characters are Ah Sing, who works for the Travises', and Ah Sing's son Chin. Ah Sing and Henry are Chinese immigrants. Henry's mother still lives in China and Ah Sing send money to her every pay day. Ah Sing and Henry live in Chinatown because "Ah Sing does not want Henry to forget he is Chinese." Henry and Chin are friends and share a love for "penny dreadfuls." They both feel their lives are boring and they enjoy reading about the exciting adventures the cowboys take, hoping that they could be like them one day. Little do they know their boring lives and attitudes are about the change.

On the morning of the earthquake, the Travises' are at their house and Ah Sing and Chin are at their tenement in Chinatown. The novel is divided as in journal entries with dates, times and locations where the next event is taking place. Once the earthquake strikes that dreadful morning, the next struggle both families face is to get out of there residence and finding a place to go. The Travises' escape to the street in front of their house where Mr. Travis begins to help his neighbors. Ah Sing and Chin, along with their friend Ah Quon are the only survivors of their tenement. They soon realize that they must move towards safer ground due to the aftershocks and the fires that have started all around them in Chinatown. All the time Chin is worried about Henry and Henry about Chin.

It is not soon after the Travises' and their neighbors soon realize that fires are starting to surround them as well and they must move or fall victim to the flames. Yep follows both families and their struggles and they begin to move towards a safer area and eventually to the bay to catch a boat to safer ground. In the end both families are reunited with each other and Ah Sing offers his cousin's house to the Travises' because Mr. Travis is determined to rebuild his house and San Francisco. Both Henry and Chin learn that their fathers are the real heroes and they don't need the cowboy's adventures when they have plenty adventure in their own lives.

C. Critical Analysis

Yep offers a poignant account of the historical events of the 1906 earthquake and fire, along with a story that is filled with cultural markers that help readers understand the similarities and differences between cultures. According to Dr. Vardell's lecture notes and Harris' book Using Multiethnic Literature in the K-8 Classroom, some realistic guidelines for evaluating Asian American literature include: "(a) culturally pluralistic theme, (b) positive portrayal of characters, (c) setting in the United States, (d) authentic illustrations, (e) strong plot and characterization, and (f) historical accuracy" (Harris, 1997, p.113). The Earth Dragon Awakes includes all six of these guidelines.

The main characters in the book are all positive, especially Ah Sing, Ah Quon, and Chin. Ah Sing demonstrates heroic qualities throughout the story. For example, when the earthquake first happens Ah Sing pulls Chin under a table because the entire ceiling falls on them. They have to dig their way out of the rubble. When they finally see light, the hole is only big enough for Chin tho escape. Ah Sing says, "Don't worry about me," urges his father."Save yourself." "I'll get help," Chin promises. "You're the important one," his father says. "Chin crawls through the passage, leaving his father behind. He would be scared to be left alone in the darkness. Until now he didn't realize how brave his father is. Or how much he loves Chin." There are example throughout the entire book of the positive qualities Ah Sing and Ah Quon demonstrate.

Another important guideline is the setting in the United States. As stated earlier the setting of the story is April 17, 1906 to April 29, 1906 in San Francisco, California. Along with the setting, other important guidelines are authentic illustrations and historical accuracy. Both of these guidelines are included in this novel. There are not illustrations in this novel, but Yep offers actual photographs of the aftermath of the earthquake and the fires in the back of the book. Also in the back of the book is the "Afterword." Here Yep presents many historical facts about the earthquake and fires of 1906. He also weaves in the characters throughout his afterword tying in historical facts and stating what the characters might have seen and done if they were involved in the situation. For example, in his afterword Yep states, "I have personal connections to the earthquake as well. Like Ah Sing, my grandfather was a houseboy. He had gone home to visit his family in China. He returned to America on April 19, 1906. In those days, Chinese landed at the pier of the Pacific Mail Steamship Line. They were kept in a building. Immigration officials would question them there." Not only does Yep bring in the characters he also connects his own story to the events that happened in history.

The final guideline Harris mentions in her book is strong plot and characterization. The novel achieves both of these characteristics. The plot is centered around this great historical tragedy and Yep has developed the characters to enhance the story and show the human side of this disaster. Not only do the characters enhance the story, but they offer a sense of resilience and "never give up" attitude that readers want from strong characters. I like the ending of the book when Ah Sing, Ah Quon, and Chin are helping Henry and his family move to tents set up in Golden Gate Park so they can start to rebuild. Along their way they find a "penny dreadful" magazine with a cowboy on the front. "Henry looks at their parents sitting on the wagon. They aren't dismayed by the wreckage. They're ready to rebuild their city. That takes more courage than capturing outlaws. The whispers to Chin, "And we don't have to look far for heroes. They were right under our noses all the time." This novel reaches across cultures and shares a time in history that is relevant to all people.

D. Review Excerpts

School Library Journal: "Yep looks at the San Francisco Earthquake of 1906 from two points of view. Chin is a young Chinese immigrant whose father is houseboy for a prominent banker and his family. He has become friendly with young Henry Travis, the banker's son, through their interest in low-brow but exciting penny dreadfuls. The stories depict heroic people doing heroic things and, while both boys appreciate their fathers, they certainly don't regard them as heroes. Not, that is, until the Earth Dragon roars into consciousness one spring morning, tearing the city asunder and making heroes out of otherwise ordinary men. Yep's research is exhaustive. He covers all the most significant repercussions of the event, its aftershocks, and the days of devastating fires, and peppers the story with interesting true-to-life anecdotes."

Booklist: "On the evening of April 17, 1906, neither eight-year-old Henry nor his friend Chin is aware that the earth beneath their San Francisco homes is shifting. Devotees of "penny dreadfuls," both boys long for excitement, not their fathers' ordinary routine lives. When the earthquake shakes the city and the firestorm breaks out, Henry and his parents scramble in the chaos and battle the fire, but must ultimately evacuate their home. Chin and his father survive the collapse of their Chinatown tenement, and flee tot he ferry through the debris and turmoil. In the midst of catastrophe, the boys realize that their fathers are real-life heroes."

E. Connections

For more books from Laurence Yep, please check out the following books:

Yep, Laurence. Dragon's Gate. ISBN 0060229713.

Yep, Laurence. Dragonwings. ISBN 0064400859.

Yep, Laurence. The Serpent's Children. ISBN 0064406458.

Yep. Laurence. Child of the Owl. ISBN 006440336x.

Culture 4 - Jingle Dancer

A. Bibliography


Smith, Cynthia Leitich. 2000. Jingle Dancer. Ill. by Cornelius Van Wright and Ying-Hwa Hu. New York, NY: Morrow Junior Book. ISBN 068816241x.

B. Plot Summary
Jenna dreams of dancing at the next powwow, but she does not have any jingles to add to her dress. She strives to dance like her grandmother, constantly hearing the beat of the drums in her mind and heart which carry through to her feet. "As sun fetched morning" Jenna sets off down the streets of her suburban neighborhood to visit four important women in her life to see if she can borrow enough jingles to dance in the next powwow. The four women she visits are her Great-aunt Sis, Mrs. Scott, Cousin Elizabeth, and Grandma Wolfe. As she speaks to each one of these women and tells them her wish; she only asks to borrow just enough jingles to add to her dress. Each of the women in return ask Jenna to dance for them at the powwow. Finally, after Jenna has collected "just enough" jingles, Jenna and Grandma Wolfe sew the jingles on Jenna's dress and Jenna practices her dance. When Jenna arrives at the dance, she begins to hear the drum, then she begins to dance in honor of each of the four women who made her dream of dancing at the next powwow possible.

C. Critical Analysis
Jingle Dancer offers many cultural markers that connect this story to Native American culture. Smith quickly identifies that the main character, Jenna, is from the Muscogee Creek Nation. This is done when Jenna's Great-aunt Sis tells Jenna a "Muscogee Creek story about Bat." Smith, herself, is also a member of the same Nation, which contributes to the cultural authenticity of the story. The author notes and fine print share the history and background of Smith, which let the reader know that she is knowledgeable of this specific Native culture.



Smith also uses the number four which mirrors the four elements of nature. As Jenna ventured to the four different houses to visit the women. Smith uses north, south, east and west to show her travel. She also uses the sun and moon to give the reader a sense of time. For example when Jenna starts off down the sidewalk towards her great-aunts house the text states, "As Sun fetched morning, Jenna danced east to Great-aunt Sis's porch. Jenna's bounce steps crunched autumn leaves, but her steps didn't jingle." The number four is also present in the number of rows of jingle bells Jenna must have for dress in order to dance at the powwow, and Jenna borrows her jingles from four women that are important in her life.



The four women Jenna borrows the jingles from are an important cultural marker as well. Each one of these women, Great-aunt Sis, Mrs. Scott, Cousin Elizabeth, and Grandma Wolfe, represent elders in Jenna's life. Jenna respects these four strong women throughout the story by asking them to borrow just enough jingles and in return honoring them by dancing for them at the powwow. Jenna respects each of these women to borrow only the jingles she needs. For example when she is at Mrs. Scott's house asking to borrow the jingles Jenna states,"May I borrow enough jingles to make a row?" Jenna asked not wanting to take so many that Mrs. Scott's dress would lose its voice." This respect and honoring of elders is of great importance to Native American Culture.

Smith also incorporates and author's note and a glossary of terms to help the reader learn about the unfamiliar words used in the story. This glossary included words such as: "fry bread and powwow." These terms are defined in an easy to read and understand manner that informs the reader about Native American words and customs. The author's notes also presents valuable information regarding Native American traditions and customs, specifically of the Muscogee (Creek) Nation and also of the Ojibway (Chippewa/Anishinabe) Nation. It also discuses the jingle dress in great detail. These notes offer readers a great foundation to build their Native American knowledge.

Smith also chose the setting of this story to be a contemporary suburban neighborhood, which describes and presents current images of Native people. Smith describes the characters in current everyday situations and jobs. The text describes Jenna when she goes to visit her Cousin Elizabeth, "As Sun caught a glimpse of Moon, Jenna strolled west to Cousin Elizabeth's apartment. At Jenna's side her jingles clanked. Elizabeth had arrived home late from the law firm. Once again, Jenna helped Elizabeth carry in her files." The illustrators also support this contemporary setting throughout the entire story with their illustrations, current clothes, and details.

The illustrations are watercolors. As stated earlier the illustrators, Van Wright and Ha use culturally accurate illustrations. For example, when Jenna practices her dance Jenna watches her grandmother dance on a video in her jingle dress. The dress is beautifully depicted in a pastel pink rose color, detailed with five rows of jingles on her skirt and an additional row on her blouse. Her grandmother's boots are also white with turquoise and peach accents. There is is a white feather in her hair and while she is dancing she carries a black feather. This use of detail in the settings, customs, and dress show the illustrators commitment to present culturally authentic illustrations that honor this specific Native American culture. The illustrators also represent skin tone facial features, clothing, homes, hairstyles and texture in an accurate portrayal of contemporary culturally authentic Native American life, with hints of traditional customs demonstrated thorough the story. These illustrations through design, detail, and color work with the text to tell a good story. This book beautifully blends contemporary and traditional Native American customs that introduce readers to current Native American culture.


D. Review Excerpts
Publishers Weekly: "Smith, a mixed-blood member of the Muscogee (Creek) Nation, convincingly juxtaposes cherished Native American tradition and contemporary lifestyle in this smooth debut. Watching a videotape of Grandma Wolfe performing a jingle dance, Jenna is determined to dance at an upcoming powwow. But she lacks the cone-shaped, tin jingles that are sewn on to dancers' dresses as part of the regalia. The girl walks down a suburban sidewalk lined with modern houses as she sets out to visit her great-aunt, a neighbor, a cousin, and Grandma Wolfe, all of whom lend her jingles for her dress."



School Library Journal: "Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of the many traditional costumed participants at the powwow will give some readers a new view of 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 passed down by the women of a culture."


E. Connections
For further reading by Cynthia Leitch Smith and about powwows, please read the following books:

Smith, Cynthia Leitich. Indian Shoes. ISBN 0060295317.

Smith, Cynthia Leitich. Rain Is Not My Indian Name. ISBN 0688173977.

Ancona, George. Powwow. ISBN 0152632694.

Culture 4 - Crazy Horse's Vision

A. Bibliography

Bruchac, Joseph. 2000. Crazy Horse's Vision. Ill. by S.D. Nelson. New York, NY: Lee & Low Books Inc. ISBN 1880000946.

B. Plot Summary

"Crazy Horse was always different. Many children cry when they are born, but not Crazy Horse. He studied the world with serious eyes." This calm and introspective introduction regarding the birth of Crazy Horse sets the stage for his remarkable life. Crazy Horse, when he was born, was known as Curly because of his curly hair. Though he was not a large boy he had power from within that commanded attention. He led the Lakota boys on adventures and they always followed. He never spoke much, but when he did speak they were words of wisdom. Even when he was young he would tell the Lakota boys, "Be brave," he told them. "If we're brave, we can help our people."

Throughout the story this Curly's bravery and determination to help his people continue to grow. He tamed a wild horse, participated in a buffalo hunt at a young age and used one arrow to kill his first buffalo, which was an unusual feat even for a seasoned hunter. The book progresses through the stages when the Army builds a camp to keep peace between the Lakotas and "the whites. Curly also witness his Chief, Chief Conquering Bear, being fatally wounded during a fight over a cow. This traumatic event causes Curly to go and seek a vision to guide him. Curly did not go about seeking his vision the traditional way, but nonetheless he left his village to seek a vision to help his people. He was in the wilderness for three days when the vision finally came to him. The vision, a rider on Curly's own horse, spoke to him and told him, "Keep nothing for yourself." There was also a storm in his vision and the rider appeared with a lightning bolt on his face and hail spots on his chest. Curly was found in the wilderness by his father and his father's best friend. They were not happy when they found out about what Curly has done and that he did not follow traditions regarding visions. Curly did not share his vision with his father until several years later. Then his father interpreted his vision and changed Curly's name to Crazy Horse, which was his father's name. The story concludes with Crazy Horse riding his horse and living his vision as a great defender of the Lakota people.

C. Critical Analysis

There are many cultural markers throughout this book that represent the cultural authenticity of Native American literature. The first cultural marker that Crazy Horse's Vision is authentic Native American literature is that the book includes the author's and illustrator's heritage in the back section on the back flap inside cover. The author, Joseph Bruchac, is of Abenaki Indian descent. He is a writer and storyteller and has won numerous awards for children and adult literature. From Violet Harris' book, Using Multiethnic Literature in the K-8 Classroom, I learned that Bruchac has written over 30 books of poetry, fiction, folktales, and legends. This book states,"Bruchac is actively working to preserve native American cultures through print and recorded media for adults and young people. He seeks the wisdom of native American elders and teachers, and, though the Greenfield Review Press, provides a way for other Native American writers to polish their craft, share their work, and attend workshops" (Harris, 1997, p.170). The illustrator S.D. Nelson is of Lakota (Sioux) Indian Descent which is the same tribe as Crazy Horse. This insight to his own background give him cultural authority to pull from and research experiences from his own past that he could draw on to illustrate this book. The back flap states, "He is an author and illustrator of Gift Horse, published by Harry N. Abrams. A member of the Standing Rock Sioux tribe, Nelson attended Moorhead State University in Minnesota."

The author's notes and illustrators notes also give historical background about factual events passed down from Crazy Horse's life and the Lakota people that have been documented. This historical account shows that the author and illustrated are educated and have conducted research regarding their subjects which contributes to the authenticity for this book. As stated earlier this book is about the Lakota tribe which Crazy Horse was a member. This tribe is identified on the second page of the book when speaking about Cully's childhood,"A Lakota boy could go wherever he wanted and Curly wanted to go everywhere." This identification of a specific Native culture is a marker of cultural authenticity.

When looking at the illustrations there are several cultural markers that contribute to the authenticity of this book. The illustrations by S.D. Nelson are done in ledger book style with acrylic paints on wooden panels. Nelson states that this art form started in the boarding schools. He said, "Hundreds of children were sent east to boarding schools to be civilized. During this time, some Indians were given ledger books in which to draw. These book had lined pages and were intended for bookkeeping. Artists used pencils, pens, and watercolors on the ledger book pages to create bold images of their vanishing culture. Their work was distinguished by outlined two dimensional figures and indistinct facial expressions." This description of "two dimensional figures and indistinct facial expressions" describe how the people in this book are illustrated. Nelson stayed true to this artwork representing the characters the

same way.

Another marker of cultural authenticity that S.D. Nelson provided was the use of colors and symbols in the book. He states,"For the Lakota people, colors have special meanings. For example red represents the east where each day begins with the rising of the sun. Yellow represents the south, summer, and where things grow. I painted Crazy Horse blue because blue represents the sky and a connection to the spirit world." He also uses symbols that are of great importance to the Plains Indians. For example when Curly had the vision on the third day, the rider on the horse had a lightning bolt on this cheek and spots of hail on his chest. Nelson explained in his illustrator notes,"Warriors used images of lightning and hail spots to represent the awesome power of a thunderstorm." He also explained how the women of the Lakota tribe preferred to decorate clothes, robes, and tipis in geometric designs. Nelson uses these geometric designs throughout the book.

When examining the text there are also cultural makers that contribute the the cultural authenticity of the text. As stated earlier the Lakota tribe is identified throughout the book several times, and identification of a specific culture adds to the authenticity. Bruchac also uses language from the Lakota tribe to demonstrate emotion and language patterns of the Lakota people. When Curly is in search of his vision and it has not been revealed to him he continues to pray and cries out, "Wakan Tanka" he cried "Great mystery, even though I am small and pitiful, I want to help my people." This great care and concern is a pattern felt throughout this book, demonstrating the great love and compassion Crazy Horse had for his people. The author also uses detailed descriptions throughout the books to paint pictures with his words and contribute the authenticity of this book. For example when he describes his vision he states,"It was a rider on the back of Curly's own pony, yet the horse and man floated in the air. As the man rode closer, Curly saw that he wore blue leggings and his face was not painted. A single feather hung down from his long brown hair." This description not only gives reader a visual image in their mind, it helps the reader recognize and connect to the many differences in the Lakota people. This is a wonderful book to introduce Native American literature to children of all ages.

D. Review Excerpts

Publishers Weekly: "As he did in Gift Horse, Sioux artist Nelson blends contemporary and traditional elements for the striking illustrations that accompany this story of the legendary Lakota warrior. Bruchac traces Crazy Horse's boyhood, zeroing in on a pivotal event in his life and highlighting an important Native American right of passage."

School Library Journal: "Crazy Horse is the revered Lakota warrior who defeated General Custer during the battle of Little Bighorn. Brucach provides this information and much more in an author's note, but the main narrative involves scenes of his subject's youth. He presents details from oral history, such as Curly's quiet nature, early leadership skills, and vision quest. Th boy sought divine inspiration after his tribe was invaded by white settlers; the vision, which taught him to "Keep nothing for yourself," was to guide him throughout his life."

E. Connections

To read more books by Joseph Bruchac regarding Native Americans please read the following books:

Bruchac, Joseph. A Boy Called Slow. ISBN 0399226923.

Bruchac, Joseph. The First Strawberries. Ill. by Anna Vojtech. ISBN 0140564098.

Bruchac, Joseph. Thirteen Moons on Turtle's Back. Ill. by Thomas Locker. ISBN 0698115848.

Bruchac, Joseph. The Earth's Under Sky Bear's Feet. Ill. by Thomas Locker. ISBN 0698116474x.

Bruchac, Joseph. Betwee Earth & Sky: Legends of Native Americans. Ill. by Thomas Locker. ISBN 152020624.

Culture 4 - The Mud Pony

A. Bibliography

Cohen, Caron Lee. 1998. The Mud Pony: A traditional Skidi Pawnee tale. Ill. by Shonto Begay. New York, NY: Scholastic. ISBN 0590415263.

B. Plot Summary

A young boy desires a pony more that anything. He ventures to the creek one day and molds one out of mud. He visits his mud pony and cares for him everyday. One day while he is at the creek with his mud pony, scouts came to camp and told the people of the camp that buffalo had been sighted and that a hunt would be vital to the survival of the people. The people packed up and moved on to join the hunt and while the boys parents searched for him, he was no where to be found and they had to leave him behind. When the boy returned to camp he cried when he discovered his parents had left. As he slept that night his mud pony came to him in his dream and said, "My son, you are not alone. Mother Earth has given me to you. I am a part of her." When the boy awakes he discovers his mud pony has come to life and the pony is there to guide him to his parents and his people. The pony takes him on a journey which delivers him to his parents, but the pony gives him instructions, "But leave them before dawn; it is not time yet for others to see you." The boy speaks with his parents in the night and then follows his pony's directions and leaves the camp. The pony and the boy continue on their journey and after three days the pony again finds the boy's people. Once the boy unites with his parents and his people, the boy dines with a war chief. He is also asked to join a battle because the enemy has killed men and kept them for reaching the buffalo. The boy joins the battle with his pony and follows his pony's direction and leads his people to victory. The boy continues to follow his pony's guidance and eventually he becomes a chief. One night the pony came to him and told him,"My son, now you are a chief among your people, a chief with the power of Mother Earth. It is Mother Earth who gives you the power, and not I. I am part of her, and it is time that I go back to her. You must let me go." Then the pony is gone, but the chief knows he is not alone.

C. Critical Analysis

There are many cultural markers that contribute to the authenticity of this Native American book. The first cultural marker which is important to Native American cultural is that the author identified the Skidid band of the Pawnee Indians of the American Plains. In the acknowledgements, Cohen states,"The Mud Pony is one of a number of ancient boy-hero stories told among the Skidi band of the Pawnee Indians of the American Plains. These stories exhibit the Pawnee belief that no matter how lowly one's origin, the path to honor is open through adherence to virtues such as constancy and a humble spirit." The author identifies the original sources from which the story is taken. She explained that, "This version was adapted from a collection of George A. Dorsey, who recorded the traditions and tales of the Skidi Pawnee between 1899 and 1902. It was told to him by yellow calf." This acknowledgement of a specific Native culture and identifying the original source are two important characteristics of authentic Native American literature.

Although the author's culture is not discussed in The Mud Pony, she appears to have researched the Skidi Pawnee Indians. From reading Violet Harris' book, Using Multiethnic Literature in the K-8 Classroom, we know that Shonto Begay is an Indian artist and writer. "Begay has brought a more authentic representation of Navajo and other American cultures to the American Public." The Mud Pony book, Begay's first illustrated children's book, began when he had been at a river bank forming sculptures from the mud on the river bank (Harris, 1997, p.169).

The illustrations are done in pastel watercolors and the setting of the story takes place almost entirely outside. The paintings encompass a natural feel. There is not a lot attention to detail, except for the main characters, the boy and the pony, but the illustrations contribute to the incorporation of nature throughout the story. The skin tones in this book are authentic and representative of Native Americans. The skin tones are warm browns and the hair color is black dark brown and the texture is straight which is culturally authentic. The illustrations contain details appropriate and meaningful to the story. For example when the boy shaped his pony out of mud and gave it a white clay face the reader can see the care that is shown in the boys hands as he sculpts his pony. Also the illustrations distinguish the different characters in the book by the variations of physical features. The boy has the most detailed illustrated face, but the other characters do show a variety of different facial features, although none are very detailed, but have a presence of a variety of different facial features. These illustrations, through design, detail and color work with the text to tell a good story. For example, when the pony takes the boy away for the second time from the camp, Begay represents the three day journey on one page set in three different pictures that come together to express the passing of time. One sketch represents the boy and pony running, another larger sketch shows the boy and the pony watching, and the final sketch shows the back view of the boy and pony as if to say they were leaving. All three of these sketches are brought together on the same page seamlessly to show the process of the journey.

There are several other cultural markers in the text to mention that reinforce the cultural authenticity of The Mud Pony. There are no names of the characters in the story. The boy and the pony are called the boy and the pony. This is more culturally specific than to create names that are ridiculous and not true to the specific tribe. The boy also eats with the war chief, who appears to be an elder. Elders are significant family members in Native cultures. The importance of family is also stressed throughout the book and is the primary the reason the pony comes to life, to get the boy back to his parents and his people. When the tribe had to move away the book states,"The boy's parents looked everywhere, but they couldn't find him. Finally, they had to leave without him."

The pony also has the quality of "living in harmony with the earth" (Harris, 1997, p.183). There are several examples of this harmony, once was when the boy and the pony are going into battle and the pony spoke to him:"My son, do not be afraid. For I am part of Mother Earth. And the enemy's arrows can never pierce the earth. Put earth all over you body, and you will not be hurt." Another example of being in harmony with the earth is at the end of the story when the boy wakes and can not find the pony. Through the wind the boy heard a voice that said,"I am here, your Mother Earth. You are not alone!" This environmental message of the Native characters is not overdone, but enhances the plot of the story and brings the story to an appropriate end. This story would be a great read aloud to any elementary age child. It would also lend itself to a range of discussion questions that would introduce non-Native Americans to a different and interesting culture as well as give Native American a chance to share about their specific culture.

D. Review Excerpts

Publishers Weekly: "From the Skidi branch of the Pawnee Indians of the Plains comes this tale of a boy who achieves greatness in his tribe with the guidance of a pony he made out of mud. Too poor to own a pony like the other boys, he fashions a small mud pony and goes to see it every day. It is during one of these visits that the rest of the tribe moves west in search of buffalo, and the boy is left behind. Not only does the mud pony become a living, breathing horse, but she takes him to his tribe; later, she helps him become the chief of his tribe by giving him great power in battles."

School Library Journal: "A quietly told tale, solidly built upon Pawnee traditions; for example, the symbolic use of Mother Earth is characteristic of this tribe who lived in dome- shape earth lodges. The watercolor illustrations are executed in earth tones with spatter backgrounds. The primitive style, with minimal details and flat perspective, almost resembles Indian artwork found on the walls of their housing. An authentic Indian folktale."

E. Connections

To read more Native American literature that Shonto Begay has illustrated please check out the following books:

Duncan, Lois. 1996. The Magic of Spider Woman. Ill. by Shonto Begay. ISBN 0590461559.

Begay, Shonto. 1995. Navajo: Vision and Voices Across the Mesa. ISBN 0590461532.

Maher, Ramona. 2003. Alice Yazzie's Year. Ill. by Shonto Begay. ISBN 1582460809.

Casler, Leigh. 1994. The Boy Who Dreamed of an Acorn. Ill. by Shonto Begay. ISBN 0399225471.

Culture 3 - The Pinata Maker / El Pinatero

A. Bibliography
Ancona, George. 1994. The Pinata Maker / El Pinatero. New York, NY: Harcourt Brace & Company. ISBN 0152618759.

B. Plot Summary
This endearing story is about Don Ricardo, a 77 years old village pinata maker. The children of the town call him Tio Rico. The setting of the story takes place in Ejutla de Crespo, Oaxaca. It begins with a small child, Beto, taking old newspapers and used bags to Don Ricardo's home so he can begin making more pinatas. Our main character, Don Ricardo, who walk with a cane, opens the door wearing a mask that he has made and it startles Beto at first, but then he realizes it is "Tio Rico" playing a joke on him. The plot of the story progresses though pictures and text describing how Don Ricardo goes through the process of making a pinata. The first pinata he makes is a swan. The book is a a photo journal that transports the reader into the pinata making process, from making the flour and water paste to the party where the pinata is broken and the treats spill out. Throughout the story Don Ricardo also demonstrates how to make a star and carrot pinata, there are also pictures of some of the different flower and animal pinatas, and the book shows off his giant puppet creations people use for parties and celebrations.


C. Critical Analysis
George Ancona uses his pictures and text to create an authentic Latin American journey to a small town in southern Mexico. The story is presented in English and Spanish and is done in a way that is not intrusive or confusing to either reader. This book has many of the cultural markers both in the photographs and the text. Because this book is presented with photographs to tell the story along with text, the cultural markers in the pictures include Don Ricardo himself being of Mexican descent. He is a Mexican citizen that lives in a small town in rural Mexico. He wears traditional clothing, a hat, shirt, pants, and sandals while he is at his home creating his pinatas. His house is a brick house, built by Don Ricardo himself "brick by brick," with an tile roof that is a common sight across the landscapes in Mexico. The general environment of the town is portrayed in the pictures as a small close knit community with a strong sense of family. Another cultural marker are the pictures of the tools Don Ricardo uses for his pinata creations. The tools are traditional and very rural. They include a small black pot to make and cook the paste, a stick to stir the paste, old irons and bricks to hold the molds in shape, dry banana leaves, old newspapers and used concrete paper bags, a hammer, scissors, twine, crepe paper, pinking shears, and pots that Don Ricard purchases from town.

The pictures illustrate the entire pinata making process done by Don Ricardo's hands. As they start the process of the swan the text explains how he begins,"He begins by by rolling dry banana leaves into a thick rod with a bulge at one end for the head." Throughout the book pictures show Don Ricardo's hands designing his craft. His hands truly tell the story. His hands are worn and cracked from the work he has done all his life, but they are also agile and creative. Before he was a pinata maker he followed in his father's footsteps and was a hat maker. His hands are hands that have lived many lives and that can tell a thousand stories.

Ancona also uses a number of cultural markers in the text that contribute to the authenticity of the story. The Mexican culture is prevalent throughout the story's text and pictures. The dialect of the text is done in English and Spanish on the each page. The names of the characters also add to the authenticity of the story along with the use of kinship terms in Spanish. The characters names include: Don Ricardo, Dona Carmen, Beto, and Daniela. The Spanish kinship term used throughout the story is Tio Rico, the name of endearment the children call Don Ricardo.

Celebrations are another cultural marker mentioned in the story. Since Don Ricardo is the village pinata maker he makes his pinatas for many different celebrations: birthdays, fiestas, and processions. The Pinata Maker / El Pinatero is a wonderful real life story of a man that brings joy to many in his town with his creative and custom made pinatas. On closing page when he and his wife are leaving these words puts in perspective Don Ricardo's feelings about the joy he brings to his town,"As Tio Rico takes his leave, he turns to look at the remnant of his beautiful pinata, and he smiles, knowing that it is proof of a very happy birthday fiesta."

D. Review Excerpts
School Library Journal: "Ancona has once again created a photo essay that brings his subject into lively and vibrant focus. A day in the life of Don Ricardo Nunez Gijon, or Tio Rico, a pinata maker, is a busy round of artistry blended with practicality. The step-by-step creation of a swan, a star, and a carrot is described. The balance between text and illustration is masterful, and both English and Spanish narratives have an easy flow."

Booklist: "On each page, the text appears in English, then in Spanish. Clearly written in both languages, the dual English/Spanish text provides a good bridge for children learning either as a second language, and also makes the book accessible to those who know one or the other. Not just a how-to manual, the book has a narrative strand, following Tio Rico as he buys materials for his crafts, makes them, sells them, and finally, attends a party where children break open a pinata."

E. Connections
To read more about about the Hispanic culture and other books containing English and Spanish text please check out the following titles:

Herrera, Juan Felipe. Calling the Doves / El canto de las palomas. ISBN 0892391669.
Herrera, Juan Felipe. The Upside Down Boy / El nino do cabeza. ISBN 089239177.
Johnston, Tony. My Mexico / Mexico mio. ISBN 0698117573.

Culture 3 - Canto Familiar

A. Bibliography
Soto, Gary. 1995. Canto Familiar. New York, NY: Harcourt Brace & Company. ISBN 01520000674.

B. Plot Summary
Canto Familiar is a collections of songs/poems from Gary Soto that touch on many day to day experiences that we have. Whether you are Hispanic American or not, Soto reaches beyond cultural barriers and invites readers to share in the experiences. The settings for this collection takes place inside houses, at the supermarket, at school, and outside. All of these settings are places that children can identify with and are a part of their everyday lives. The characters who share these poems with readers are three children from one family. Though there are a wide variety of many different songs/poems, my favorite poem is "My Teacher in the Market." Soto captures the innocence and wonder of a little girl seeing her teacher in the market on a Saturday. I can relate to this on two levels. One, I remember when I was young and I saw my second grade teacher at a store. I thought it was so strange to see him outside school and I wondered if he bought food at the store like we did. I can also see it from a teacher's standpoint. When I see children when I am at the store and they have the same look in their eyes like I did when I was a child. You can see the wonder and astonishment in their face when they come up and say, "Hi." I sure they are wondering if I eat real food they like do. Soto states in this poem, "I've never seen my teacher in jeans and a T-shirt, and tennies with a hole where the little toe rubs." Reading this, I can envision the curiosity of this child and the excitement of seeing her teacher outside of school on a Saturday.

C. Critical Analysis
Canto Familiar encompasses many cultural markers and recurring themes that are important to Hispanic American literature. He uses holidays/celebrations in the poem "Christmas Angel." Food is also a recurring theme and cultural marker in this book in the poems "Papi's Menudo, Tortillas Like Africa, Nopales." Food is also mentioned in a few other poems, foods such as "chicken mole, avocados, tomatoes, chilies, frijoles, arroz, and papas."

The use of kinship terms also know as forms of address is also prevalent throughout the book. These terms are used in the Latino culture to capture and convey emotional closeness (Fox and Short, 2003, p.250). The following terms are used in several of the songs/ poems: Papi, Abuela, Abuelo, Mami, and Mama. This use of kinship also contributes to the importance of family in the Latino culture and Canto Familiar is focused around the family.

Other Latino culture markers in the text that contribute to the cultural authenticity to Canto Familiar are language and names of characters. In the poem "Spanish" Soto states, "Spanish is a matter of rolling rrrrrs, Clicking the tongue, And placing your hands On your hips When your little brother Pours cereals Into you Fishbowl. Spanish is a matter of yelling, "Abuela, Telefono Una vendedora De TV Guide." This natural use of Spanish throughout the book does not confuse, but enhances the cultural authenticity of the song/poems. Names of characters and pets also contribute to the authenticity of the text. The names of the two family cats are Chato, in "Music for Fun and Profit," and Pelitos, in the self-titled poem. Also characters names throughout the book, personal names and names of address such as Enrique, Senor, Senora Cisneros, Angel, Maria, and Hector lend themselves to the authenticity of the text.

The illustrations also have cultural markers that contribute to the book. The skin tones Annika Nelson uses are warm browns and chestnuts. The homes are full of color and have a combined modern and traditional feel. Canto Familiar is and enjoyable book for any age and any culture.

D. Review Excerpts
School Library Journal: "Who could imagine that such joyous rhythm could be found in the familiar moments of life, such as washing dishes or spotting a teacher in the market? In this companion volume to Neighborhood Odes (Harcourt 1992), Soto not only imagines the musical beat, but also captures the energy and transposes it into poetic song."

Booklist: "This collection of simple free verse captures common childhood moments at home, at school, and in the street. many of the experiences are Mexican American ("Spanish is seeing double"), and occasional Spanish words are part of the easy, colloquial, short lines. The first person voices are immediate, physical, and joyful, celebrating music, dancing, cats, friends, family."

E. Connections
For more enjoyable Gary Soto experiences please check out the following books:

Soto, Gary. Neighborhood Odes. ISBN 0152053646.
Soto, Gary. Help Wanted. ISBN 0152056637.
Soto, Gary, Taking Sides. ISBN 0152046941.
Soto, Gary. A Fire in My Hands. ISBN 0152055649.