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.

Culture 3 - A Birthday Basket for Tia

A. Bibliography
Mora, Pat. 1992. A Birthday Basket for Tia. New York, NY: Simon & Schuster. ISBN 0027674002.

B. Plot Summary

"Today is a secret day. I curl my cat in my arms and say, "Ssshh, Chica. Can you keep a secret, silly cat?" Tia is turning 90 and Cecilia, her great-niece, wants to do something special for her favorite great-aunt. She looks around her house for something special to give Aunt Tia while her mother gets ready for a surprise party for Aunt Tia. The entire time Cecilia is looking for a gift, she is with her trusty cat companion Chica. After some time thinking about the perfect gift she finds a basket and creates a wonderful surprise for her great aunt Tia. Cecilia decides to fill the basket with things that she and Aunt Tia do together. The things Cecilia places in the basket are a book, mixing bowl, flower pot, a teacup, a red ball, and fresh picked flowers. When Aunt Tia arrives at her surprise party she is delighted to open the special gift Cecilia has prepared for her.

C. Critical Analysis

This is a heart-warming story about a little girl's love for her great Aunt Tia and how she expresses that love by preparing a special birthday gift for her. You can tell from the text the concern she has for finding the perfect gift for her aunt. "Chica and I walk around the front yard and the backyard looking for a good present. We walk around the house. We look in Mama's room. We look in my closet and my drawers."

This story offers many cultural markers that connect the the story to Hispanic American culture. The setting takes place in Cecilia's home with her family preparing for Aunt Tia's surprise birthday party. Their family's home is filled with color and traditional pieces from the Hispanic American culture. There are colorful fish, a dancing puppet, hand painted furniture, and bright, beautiful flowers. The illustrations are cut paper with dyes and they add to the festive atmosphere of the setting. The illustrations also demonstrate a love for family and caring towards each other which enhance the setting and the characters affection for each other throughout the story. I especially like the way on the first page Cecilia is holding her cat, Chica. Cecilia is also seeing hugging her Aunt Tia and her mother the same gentle way in the story.

Food also plays an important role in Hispanic American culture and this book is filled with traditional fare that is customary to this culture. When Cecilia wakes up and is having breakfast in the kitchen she notices her mother is cutting fruit for the party and smells a pot of beans bubbling on the stove. Cecilia also mentions how much she enjoys making "bizcochos", sugar cookies, with great Aunt Tia. Cecilia and her mother also fills a pinata with candy and her mother prepares small cakes for the party.

When describing the characters in this book they all have light brown skin tones, dark brown or light brown eyes, and brown or black hair, except for Aunt Tia whose hair is silver and worn in a twist on top of her head. All the physical characteristics are culturally authentic to the Hispanic American culture. Along with the character descriptions, the character's names play an important role in the cultural authenticity. The character names in the story are the cat , Chica and Cecilia. The author also uses kinship terms that show emotional closeness between Latino family members. The kinship terms Cecilia uses in the book are Tia and Mama. Another culture marker that plays a significant role in this book is language. Throughout the text, the Spanish language is mingled with English to remind the reader of words that may be familiar to them or introduce new words to readers who are not familiar with the Spanish language. The Spanish words that are mentioned and defined are: noventa anos, bizcochos, hiberbabuena, pinata, que pasa, and Feliz cumpleanos. This sprinkling of Spanish contributes to the books authenticity because it is used appropriately and does not distract or confuse the reader.

A final cultural marker that is important to Hispanic American literature is celebrations. From the beginning, the story is centered around getting ready for Aunt Tia's ninetieth birthday party. This theme of celebration contributes to the authenticity of the story. I also appreciate the way the book incorporates family throughout the book. It focuses on the importance of family and the relationships that are important to young and old alike. This is an enjoyable book for young readers.

D. Review Excerpts

School Library Journal: "Cecilia is excited by the approach of her great-aunt Tia's 90th birthday. The elderly woman has always been a special friend to both the bright-eyed heroine and her cat, Chica. For a gift, Cecilia hits on the idea of a basket filled with all the things that symbolize togetherness with Tia: a bowl for baking cookies, a cup for having tea,flowers for their times outside. Her delight in filling the basket is matched by Tia's as she enjoys the tributes."

Publishers Weekly: "Repetitions of the items inside the basket and the occasional use of Spanish words are helpful reinforcements for young readers. Two cavils: Mora's text tends to go on a bit too long, and the many asides Cecilia addresses to her cat Chica become somewhat intrusive as the story progresses. Lang's cut-paper illustrations provide a vivid picture of a diverse and dynamic Mexican American family. Warm brown skin tones contrast nicely with bold reds, blues and oranges to lend additional Latin flavor."

E. Connections

Look for these other books to explore more about Hispanic American Culture:

Cisneros, Sandra. Hairs / Pelitos. ISBN 0679890076.

Lomas Garza, Carmen. In My Family / En mi familia. ISBN 0892391634.

Mora, Pat. The Rainbow Tulip. ISBN 0027674010.

Soto, Gary. Too Many Tamales. ISBN 0698114124.

Culture 2 - My Man Blue

A. Bibliography:

Grimes, Nikki and Lagarrigue, Jerome. 1999. My Man Blue. New York, NY: Puffin Books. ISBN 0803723261.

B. Plot Summary:

Damon and his mom move back to his mother's old neighborhood. Damon does not have a father. Shortly after they move in they meet a man by the name of "Blue." Damon's mom explains that Blue is an old friend from the neighborhood, but in the beginning Damon is skeptical about this "old friend." The poem "When We First Met" describes Damons tentativeness, "I circle, look him up ans down and let him know his grin's not winning points with me. My flashing eyes warn "Do not trespass here, " 'Cause in this family I'm the only man."

Throughout the course of the book Nikki Grimes presents poems that show the growing relationship between Damon and Blue. Damon learns that Blue lost his son to the streets, a choice that Blue regrets because Blue was not there when he needed to be. The reader also understands that Blue wants to help and encourage Damon to make the right choices and be safe. One poem entitled "The Watcher" explains how Blue saves Damon from getting run over when his ball goes into the street. Damon stated: "At times I think Blue's actually some gold-tooth angel, guarding me."

The fourteen poems continue building a strong relationship between the two main characters. Finally, Damon admits that when he grows up he wants to be like Blue, which is the title of the last poem.

C. Critical Analysis:

My Man Blue take readers on a journey through getting to know someone and forming a friendship, including all the fears and doubts that accompany new friendships. The book shares the fears of both Damon and Blue. Damon has a fear of Blue trying to be close to his mother. While Blue has a fear of watching another young child being lost to the streets. Damon has a since in the beginning that Blue is tough and mean, but finds out that he has a story to tell and is really a gentle giant, not a threat. This friendship that is formed is an important theme in African American culture.

Along with friendship, another important theme that is prevalent in the book is the theme of families and their loyalties. Damon is incredibly loyal to his mother and feels the need to protect her and take care of her because that is his role as the man in the house. In the poem "My Own Man" Damon describes this loyalty towards his mother after making her a sandwich when she works late and some neighborhood boys are teasing him. Damon states,"What's the matter with that? And, if I take care of my mom, so what? She takes care of me. Don't be no Mama's boy," kids say, Well, tough. I'm made this way." This commitment towards his mother is evident and also is expressed towards Blue as the poems progress through the book.

Another important theme that is carried out through this book is the everyday rituals and events in life. Blue and Damon do common everyday activities that many children do. For example, the play basketball together and Blue teaches Damon that shooting baskets is more fun that shooting a gun. They also spar and Blue teaches Damon how to "be fit for this world." This mentoring of values that Blue demonstrates for Damon also shows the strength and resilience of African American people and culture, which is another theme that continues throughout this book.

D. Review Excerpts:

School Library Journal: "Lagarrigue debuts with a set of twilit, impressionistic, sparsely populated street scenes in which Blue, with his shaven head and heavy frame, leans hugely but attentively towards his diminutive companion."

Publishers Weekly: "In 14 knowing, heartfelt poems, Grimes invites readers to witness the friendship that blossoms between Damon, an African American boy without a father, and Blue, a tough-looking man who has lost his sons to the streets."

E. Connections:

To learn more about lessons that can be taught using My Man Blue follow the links below:
http://www.nikkigrimes.com/teacher/bluetg.html

http://www.nikkigrimes.com/teacher.bluemip.html

Look for these other books about African American poetry for young people:

Hughes, Langston. The Dream Keeper and Other Poems. ISBN 0679883479.

Greenfield, Eloise. Honey I Love You and Other Love Poems. ISBN 0064430979.

Grimes, Nikki. Meet Danitra Brown. ISBN 0688154719.

Hughes, Langston. Poetry for Young People. ISBN 1402718454.

Culture 2 - Minty

A. Bibliography:

Schroeder, Alan and illustrated by Pinkney, Jerry. 1996. Minty: A Story of Young Harriet Tubman. New York, NY: Puffin Books. ISBN 014056196X.

B. Plot Summary:

Minty is a young, eight year-old girl working as a slave on the Brodas plantation in Maryland. She has a mind of her own and has been known to not always come when she is called. The opening page reflects this defiance when the text states, "Minty giggled, and then stuck out her tongue just as far as it could go. I'll come when I'm good and ready, she thought. But she didn't dare day it; not out loud. That would mean a whipping for sure" (Schroeder, 1996).

Minty began working in the house doing chores, but after spilling a pitcher of cider on the table she was moved to the fields to do work. Minty was warned that this would be her last chance or she would be sold down south. During the work in the fields, Minty often dreamed of running away. At one point, she was forced to wade in the river and check the muskrat traps, but she was kind-hearted and released the muskrats if she found them in a trap. She was caught doing this and was beaten. This never stopped her from dreaming about running away. This book demonstrates the power of the human spirit.

C. Critical Analysis:

Minty offers many cultural markers that connect the story to African American culture. Minty is an authentic connection to African American culture because it offers information about slavery as an institution and its impact. The Brodas family represents the effects of racism and the brutality of the treatment of others. Throughout the story Mrs. Brodas mentions giving Minty a whipping. Minty is also a demonstration of the strength and resilience of the African American people and culture along with demonstrating the strength of African American families. Throughout the story when Minty gets in trouble her family is there to take care of her and continue to encourage her. Her father, Old Ben, knows how determined Minty is to run away and he begins teaching her things about the wilderness and survival skills.

Although Minty is the fictional story of a young Harriet Tubman, the reader can feel her determination to get out of her environment and be free. Even though she does not run away by the end of the story, the reader has a since that she will follow her dream and the north star her father told her to always look for. Minty is a book that exemplifies the human spirit. She is beaten, ridiculed, and forced to do work a child should never endure. And all the while the fire of freedom is burning inside her heart. Schroeder and Pickney capture the sheer will and determination of a young girl who through patience, multiple hardships, and perseverance eventually accomplishes her dream of freedom for herself and helped countless others achieve that dream as well. Which contributes to a final cultural marker that Minty exhibits, which is knowing, valuing, and preserving African American history and culture.

D. Review Excerpts:

Publishers Weekly: "This fictionalized account of Tubman's childhood on a Maryland plantation provides a cruel snapshot of life as a slave and the horrid circumstances that fueled the future Underground Railroad leader's passion and determination."

School Library Journal: "This beautifully illustrated and moving fictional story can be used to introduce Harriet Tubman and the injustice of slavery to young audiences. Minty is a spirited child who hides in order to shirk the commands of the temperamental Mrs. Brodas."

E. Connections:

Look for these other books for young people about African American history and culture:

Winter, Jeanette. Follow the Drinking Gourd. ISBN 0679819975.

Edwards, Pamela Duncan. Barefoot: Escape on the Underground Railroad. ISBN 0064435199.

Weatherford, Carole Boston. Moses: When Harriet Tubman Led Her People to Freedom. ISBN 076851759.

Ringgold, Faith. Aunt Harriet's Underground Railroad in the Sky. ISBN 0517885433.