1. BIBLIOGRAPHY
Cummings, Pat. 1992. TALKING WITH ARTISTS. New York, NY: Bradbury Press. ISBN 0027242455
2. PLOT SUMMARY
Pat Cummings interviews fourteen illustrators. Cummings compiled the interview information into brief autobiographical sketches. Her interviews examine their lives and work. Cummings profiled: Victoria Chess, Pat Cummings, Leo and Diane Dillon, Lois Ehlert, Lisa Campbell Ernst, Tom Feelings, Steven Kellogg, Jerry Pinkney, Amy Schwartz, Lane Smith, Chris Van Allsburg, and David Wiesner. Each illustrator profile begins with “My Story” which is a glimpse into the illustrator’s early life and the path s/he followed on the way to his/her current vocation. Cummings then asked the same series of eight questions. Lastly, a glossary of terminology and an illustrator index are included to provide clarification and additional resources for the reader.
3. CRITICAL ANALYSIS
It seems that Pat Cummings wanted to create a book that would inspire readers, especially children, into artistic endeavors and vocations. TALKING WITH ARTISTS VOLUME 1 meets this goal. This book could have been dull. Many interview books, whether they are picture books or not, are dry, lifeless materials. The interviews could read like an excerpt from the Encyclopedia Britannica.
This is not the case with TALKING WITH ARTISTS VOLUME 1! The upbeat and fascinating technique used in this text brings the readers into the illustrators’ lives and brings these illustrators out of the shadows of the authors they support and onto center stage.
This book contains interviews with fourteen different illustrators. These illustrators were each asked the same series of questions. Those questions were:
1. Where do you get your ideas from?
2. What is a normal day like for you?
3. Where do you work?
4. Do you have any children? Any pets?
5. What do you enjoy drawing the most?
6. Do you ever put people you know in your pictures?
7. What do you use to make your pictures?
8. How did you get to do your first book?
Although these illustrators were all asked the same questions, the range of answers is amazing. Each person has a different tale of how s/he got started in the business. These stories allow the readers to see that there is no one correct way to follow a dream or simply fall into a successful career. One may also note that the questions are simplistic in relation to typical interview questions. These are the types of questions that children would ask if they were directing the interview. Cummings used these questions to further the appeal of this text to children.
In addition to the text, each interview contains its own illustrations and graphics. All illustrator profile consists of a picture of the illustrator as a child and as an adult. The illustrator also provided pictures created when they were only children. Current illustrations are also included. The reader can see how much the illustrator has developed and realize that artists’ childhood drawings can look much like a typical child’s work. They are gifted artists, but that it was cultivated not simply innate talent. Seeing current artistic creation reveals that like the variation in the answers to the interview questions, the same variation exists in artistic style and medium.
Cummings choice in illustrators reflects her desire to appeal to all children. She included male, female, Caucasian, African-American, older, and younger illustrators. The idea that anyone can become an illustrator is promoted.
This book is the first in a series of three interview collections. The fact that there are numerous sequels attests to the popularity of this type of material.
4. REVIEW EXCERPTS
Boston Globe-Horn Book Award for Nonfiction
From SCHOOL LIBRARY JOURNAL: “Well designed and well conceived, this book will be welcomed in all those classrooms in which children's literature has become central to the curriculum.”
5. CONNECTIONS
*Students could select an author from any of the three volumes of this series. They could become that illustrator for the day. After completing biographical research, present this information to peers or younger classmates.
*Information regarding education required for becoming an illustrator:
Become an Illustrator, How to Become an Illustrator - Education-Portal.com
SchoolFinder.com
*Official website of Caldecott Medal Illustrator
Chris Van Allsburg The Official Chris Van Allsburg Website
*Other books in series
Cummings, Pat. TALKING WITH ARTISTS, VOLUME 2. ISBN 0689803109
Cummings, Pat. TALKING WITH ARTISTS, VOLUME 3. ISBN 0395891329
Sunday, January 28, 2007
Module 1: A KICK IN THE HEAD
1. BIBLIOGRAPHY
Janeczko, Paul B. 2005. A KICK IN THE HEAD. Ill. by Chris Raschka. Cambridge MA: Candlewick. ISBN 0763606626
2. PLOT SUMMARY
A KICK IN THE HEAD is a poetry anthology. Paul Janeczko includes one poem from 29 different poetic styles. The styles include: couplet, tercet, quatrain, haiku, senryu, tanka, cinquain, clerihew, limerick, roundel, double dactyl, troilet, sonnet, villanelle, opposites, riddle poem, ode, acrostic, concrete, epitaph, elegy, found poem, persona poem, poem of address, ballad, blues poem, list poem, aubade, and pantoum.
Poems from a variety of authors were used, from the well known Shakespeare and Ogden Nash to lesser known Avis Harley and Anonymous. Along with an example poem, Janeczko includes the rules for writing using each poetic style. Illustrations accompany each poem. An introduction previewing the format of the book is included. The index provides a detailed explanation of each of the poetic styles highlighted in the book.
3. CRITICAL ANALYSIS
Poetry writing and analysis is one of the most intimidating elements of Language Arts education. A poem’s apparent lack of structure encourages readers to open their minds and to think analytically and creatively. This picture book would be an excellent tool to introduce poetry to a writer of any age.
The poems selected are fantastic examples of the style of poem while being about age appropriate material. There are no poems about love, which most children could not relate to. There are many poems about animals or items that children are familiar with. Despite the simplicity of the content of the poems, this book would be useful for older students and adults who are being introduced to poetry.
While some of the poems included are widely known, such as the acrostic, many could be considered obscure to the general American public such as the clerihew. The author’s introduction provides a preview into the structure of the book as well as information about reading poem definitions included on pages. This is excellent for a novice poet. A more experienced poet would not be bored with this text. S/he could embark on the challenge of mastering a more obscure poetic form. Readers have 29 from which to choose.
Each page or pair of pages presents a new poem. At the top corner of the page is the poetry style. The poem and the accompanying illustration dominate the majority of the page. Poetry definition and writing style explanations are written unobtrusively at the bottom of the page in a small typeset. It is designed to be there to guide the reader but not to overtake the page. The poetry and illustration are the dominating focus.
This picture book is an excellent blend of two artistic interpretations.
At the end of the book, the author provides more detailed information about each poetic style. Readers could use this information to advance his/her new found knowledge about a certain poetic style. This index could also provide clarification for a reader who is still struggling to understand the precise rules that accompany a certain poetic style.
The illustrations in this picture book complement the text and provide additional clues as to the meaning of a poem. Readers often lament poetry analysis because they claim that they do not know what the poem is referencing. The illustrations in this text change this. They provide the necessary clues for novice poetry enthusiasts and enriching detail for the more advanced interpreter.
Chris Raschka, the illustrator, uses a mixed media artistic medium. Each illustration is a combination of vibrant watercolor imagery and torn paper. Generally, watercolor is used when representing faces, animals, other living things; torn paper is used to represent clothing, furniture, and other inanimate objects. These illustrations effectively bring the words of the poems to life while subtly concealing the poetry definition on the page.
4. REVIEW EXCERPTS
From PUBLISHER’S WEEKLY: “Janeczko's disciplined but accessible examples, plus Raschka's spirited Asian-inspired images, add oomph to this joyful poetry lesson, sure to be welcomed by teachers and aspiring poets everywhere.”
From BOOK LINKS: “Perfect for classroom use, this terrific picture book will help students appreciate poetry and become better poets themselves.”
From SCHOOL LIBRARY JOURNAL: “…will capture imaginations and inspire young wordsmiths.”
5. CONNECTIONS
*Students read example poems and compose own poems and create anthology.
*Students will compose and illustrate poems using the same technique as Chris Raschka.
*Using a different poetry anthology, students will identify a given poem’s structure using information from this book.
Website for interview with Chris Raschka:
BookPage Interview September 1998: Chris Raschka
*Other books of interest:
Prelutsky, Jack. READ A RHYME, WRITE A RHYME. ISBN 0375822860.
Fletcher, Ralph J. POETRY MATTERS. ISBN 0380797038
*Other book by author:
Janeczko, Paul. A POKE IN THE I. ISBN 0763606618
Janeczko, Paul B. 2005. A KICK IN THE HEAD. Ill. by Chris Raschka. Cambridge MA: Candlewick. ISBN 0763606626
2. PLOT SUMMARY
A KICK IN THE HEAD is a poetry anthology. Paul Janeczko includes one poem from 29 different poetic styles. The styles include: couplet, tercet, quatrain, haiku, senryu, tanka, cinquain, clerihew, limerick, roundel, double dactyl, troilet, sonnet, villanelle, opposites, riddle poem, ode, acrostic, concrete, epitaph, elegy, found poem, persona poem, poem of address, ballad, blues poem, list poem, aubade, and pantoum.
Poems from a variety of authors were used, from the well known Shakespeare and Ogden Nash to lesser known Avis Harley and Anonymous. Along with an example poem, Janeczko includes the rules for writing using each poetic style. Illustrations accompany each poem. An introduction previewing the format of the book is included. The index provides a detailed explanation of each of the poetic styles highlighted in the book.
3. CRITICAL ANALYSIS
Poetry writing and analysis is one of the most intimidating elements of Language Arts education. A poem’s apparent lack of structure encourages readers to open their minds and to think analytically and creatively. This picture book would be an excellent tool to introduce poetry to a writer of any age.
The poems selected are fantastic examples of the style of poem while being about age appropriate material. There are no poems about love, which most children could not relate to. There are many poems about animals or items that children are familiar with. Despite the simplicity of the content of the poems, this book would be useful for older students and adults who are being introduced to poetry.
While some of the poems included are widely known, such as the acrostic, many could be considered obscure to the general American public such as the clerihew. The author’s introduction provides a preview into the structure of the book as well as information about reading poem definitions included on pages. This is excellent for a novice poet. A more experienced poet would not be bored with this text. S/he could embark on the challenge of mastering a more obscure poetic form. Readers have 29 from which to choose.
Each page or pair of pages presents a new poem. At the top corner of the page is the poetry style. The poem and the accompanying illustration dominate the majority of the page. Poetry definition and writing style explanations are written unobtrusively at the bottom of the page in a small typeset. It is designed to be there to guide the reader but not to overtake the page. The poetry and illustration are the dominating focus.
This picture book is an excellent blend of two artistic interpretations.
At the end of the book, the author provides more detailed information about each poetic style. Readers could use this information to advance his/her new found knowledge about a certain poetic style. This index could also provide clarification for a reader who is still struggling to understand the precise rules that accompany a certain poetic style.
The illustrations in this picture book complement the text and provide additional clues as to the meaning of a poem. Readers often lament poetry analysis because they claim that they do not know what the poem is referencing. The illustrations in this text change this. They provide the necessary clues for novice poetry enthusiasts and enriching detail for the more advanced interpreter.
Chris Raschka, the illustrator, uses a mixed media artistic medium. Each illustration is a combination of vibrant watercolor imagery and torn paper. Generally, watercolor is used when representing faces, animals, other living things; torn paper is used to represent clothing, furniture, and other inanimate objects. These illustrations effectively bring the words of the poems to life while subtly concealing the poetry definition on the page.
4. REVIEW EXCERPTS
From PUBLISHER’S WEEKLY: “Janeczko's disciplined but accessible examples, plus Raschka's spirited Asian-inspired images, add oomph to this joyful poetry lesson, sure to be welcomed by teachers and aspiring poets everywhere.”
From BOOK LINKS: “Perfect for classroom use, this terrific picture book will help students appreciate poetry and become better poets themselves.”
From SCHOOL LIBRARY JOURNAL: “…will capture imaginations and inspire young wordsmiths.”
5. CONNECTIONS
*Students read example poems and compose own poems and create anthology.
*Students will compose and illustrate poems using the same technique as Chris Raschka.
*Using a different poetry anthology, students will identify a given poem’s structure using information from this book.
Website for interview with Chris Raschka:
BookPage Interview September 1998: Chris Raschka
*Other books of interest:
Prelutsky, Jack. READ A RHYME, WRITE A RHYME. ISBN 0375822860.
Fletcher, Ralph J. POETRY MATTERS. ISBN 0380797038
*Other book by author:
Janeczko, Paul. A POKE IN THE I. ISBN 0763606618
Saturday, January 27, 2007
Module 1: So you want to be president?
1. BIBLIOGRAPHY
St. George, Judith. 2000. SO YOU WANT TO BE PRESIDENT? Ill. by David Small. New York , NY: Philomel Books. ISBN 0399234071
2. PLOT SUMMARY
This picture book is a light-hearted look at the presidency. Facts and statistics about the office of the presidency and about the men who have filled it are presented in an appealing manner. The qualifications required to serve as president are included as well as statistical oddities. For example, being named James seems to assist one at being elected president since six have been elected. Judith St. George breathes life and human qualities into widely known and lesser known presidents. Strange yet interesting facts surface. She includes positive and negative aspects of the nation’s highest office. The book concludes with several pages devoted to encouraging all readers that they could be a future president.
3. CRITICAL ANALYSIS
When evaluating this book, one must begin with the title. The phrase, and title, SO YOU WANT TO BE PRESIDENT sets the tone for the book. It sounds as if the author is throwing out a challenge to the reader. It appeals to children and adults more than a basic title such as Presidential Facts. Almost everyone has dreamed of being the president, the title makes it seem like it could happen.
Ms. St. George jumps into her whimsical look at the presidency with the statement “There are good things ….(and) bad things about being the President.” The fun of having a bowling alley at home and the danger of someone trying to cause hurt are both presented. She doesn’t want to simply portray the excitement without revealing some of the less glamorous aspects.
“If you want to be president…” is repeated many times throughout the text. These words are then followed by a question to the reader or an attribute to investigate. St. George asks the readers, primarily children, questions or presents statements that they can relate to: “Do you have a pet?”; “…your size doesn’t matter”; “Don’t worry about your looks”; and “Some presidents knew how to dance and some didn’t”. She then relays tidbits answering these as they relate to the presidents. To the question “Do you have a pet?” Ms. St. George informs the reader of many of the pets that have lived in the White House.
David Small’s illustrations are priceless. The quirky nature of the text is complemented by the cartoon drawings of our forty one presidents. The drawings could be used by readers who were not visually familiar with the appearance of a president. One could read the text and then use the illustrations to match a presidential name to a face based on the information given. Most adults know what Abraham Lincoln looked like, but what about Martin Van Buren? This book provides a face for names.
The illustrations resemble caricatures or political satire drawings. Most of the presidential figures have small bodies and oversized heads. It begs the question “Does the illustrator trying to use the oversized head to represent an oversized ego?” Perhaps he was just trying to make the figure of “President” seem more human and less unreachable and unattainable.
At the end of the book, an index of presidents and pictures is provided. This allows the reader to verify that s/he knew which president was which. Lastly, there is a list of all of the presidents and vital statistics. These include term dates, birth and death year, birthplace, and one interesting fact about that president. This information is presented in an appropriate manner. Vocabulary is precise and simple but not oversimplified, which could lead to misinformation or an accusation of “dumbing down the material”.
4. REVIEW EXCERPTS
From SCHOOL LIBRARY JOURNAL: “Curious tidbits of personal information and national history combine with humorously drawn caricatures to give this tongue-in-cheek picture book a quirky appeal….While the text exposes the human side of the individuals, the office of the presidency is ultimately treated with respect and dignity.”
From BOOKLIST: “The light tone of the book makes it possible for readers to absorb a great deal of information…”
5. CONNECTIONS
* This book could be included with American History curriculum. Students of all ages could research and investigate the facts presented to verify the text’s truthfulness.
*Students could create their own book of unusual presidential facts.
*Other books about the presidents:
Piven, Hanoch and Sarah L. Thomson. WHAT PRESIDENTS ARE MADE OF? ISBN 0689868804
DK Publishing Staff. PRESIDENTS (Eyewitness Book Series). ISBN 0789488981
St. George, Judith. 2000. SO YOU WANT TO BE PRESIDENT? Ill. by David Small. New York , NY: Philomel Books. ISBN 0399234071
2. PLOT SUMMARY
This picture book is a light-hearted look at the presidency. Facts and statistics about the office of the presidency and about the men who have filled it are presented in an appealing manner. The qualifications required to serve as president are included as well as statistical oddities. For example, being named James seems to assist one at being elected president since six have been elected. Judith St. George breathes life and human qualities into widely known and lesser known presidents. Strange yet interesting facts surface. She includes positive and negative aspects of the nation’s highest office. The book concludes with several pages devoted to encouraging all readers that they could be a future president.
3. CRITICAL ANALYSIS
When evaluating this book, one must begin with the title. The phrase, and title, SO YOU WANT TO BE PRESIDENT sets the tone for the book. It sounds as if the author is throwing out a challenge to the reader. It appeals to children and adults more than a basic title such as Presidential Facts. Almost everyone has dreamed of being the president, the title makes it seem like it could happen.
Ms. St. George jumps into her whimsical look at the presidency with the statement “There are good things ….(and) bad things about being the President.” The fun of having a bowling alley at home and the danger of someone trying to cause hurt are both presented. She doesn’t want to simply portray the excitement without revealing some of the less glamorous aspects.
“If you want to be president…” is repeated many times throughout the text. These words are then followed by a question to the reader or an attribute to investigate. St. George asks the readers, primarily children, questions or presents statements that they can relate to: “Do you have a pet?”; “…your size doesn’t matter”; “Don’t worry about your looks”; and “Some presidents knew how to dance and some didn’t”. She then relays tidbits answering these as they relate to the presidents. To the question “Do you have a pet?” Ms. St. George informs the reader of many of the pets that have lived in the White House.
David Small’s illustrations are priceless. The quirky nature of the text is complemented by the cartoon drawings of our forty one presidents. The drawings could be used by readers who were not visually familiar with the appearance of a president. One could read the text and then use the illustrations to match a presidential name to a face based on the information given. Most adults know what Abraham Lincoln looked like, but what about Martin Van Buren? This book provides a face for names.
The illustrations resemble caricatures or political satire drawings. Most of the presidential figures have small bodies and oversized heads. It begs the question “Does the illustrator trying to use the oversized head to represent an oversized ego?” Perhaps he was just trying to make the figure of “President” seem more human and less unreachable and unattainable.
At the end of the book, an index of presidents and pictures is provided. This allows the reader to verify that s/he knew which president was which. Lastly, there is a list of all of the presidents and vital statistics. These include term dates, birth and death year, birthplace, and one interesting fact about that president. This information is presented in an appropriate manner. Vocabulary is precise and simple but not oversimplified, which could lead to misinformation or an accusation of “dumbing down the material”.
4. REVIEW EXCERPTS
From SCHOOL LIBRARY JOURNAL: “Curious tidbits of personal information and national history combine with humorously drawn caricatures to give this tongue-in-cheek picture book a quirky appeal….While the text exposes the human side of the individuals, the office of the presidency is ultimately treated with respect and dignity.”
From BOOKLIST: “The light tone of the book makes it possible for readers to absorb a great deal of information…”
5. CONNECTIONS
* This book could be included with American History curriculum. Students of all ages could research and investigate the facts presented to verify the text’s truthfulness.
*Students could create their own book of unusual presidential facts.
*Other books about the presidents:
Piven, Hanoch and Sarah L. Thomson. WHAT PRESIDENTS ARE MADE OF? ISBN 0689868804
DK Publishing Staff. PRESIDENTS (Eyewitness Book Series). ISBN 0789488981
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