BIBLIOGRAPHY
Woodson, Jacqueline. 1992. MAIZON AT BLUE HILL. Delacorte Press: New York. ISBN: 0-385-30796-9.
PLOT SUMMARY
Twelve year old Maizon has never left Brooklyn. Suddenly she wins a scholarship to a predominantly white all-girls’ boarding school in Connecticut, and her world is upside down. Maizon leaves her friends, her grandma, and her home. Despite her reservations, Maizon’s desire to live up to her grandma’s expectations propels her to attend Blue Hill School. Maizon is welcomed by the only 3 African American girls, Marie, Sheila, and Charli. But their efforts to protect Maizon alienate her from them. As Maizon explores other circles of people, she is confronted with conflicting emotions and “white curiosity” about her. Maizon realizes that she is not ready to deal with many of these emotions but understands the need for belonging somewhere. But her confusion about her fit in the world plagues her until she makes a difficult decision about her future at Blue Hill School.
CRITICAL ANALYSIS
MAIZON AT BLUE HILL is the second book in a trilogy by Jacqueline Woodson. In the first novel, LAST SUMMER WITH MAIZON, readers are introduced to Margaret and Maizon. It focuses on Margaret and how she deals with her father’s death. This second book focuses on Maizon and her experiences as she leaves the comfort of her home to develop her gifted mind.
Ms. Woodson does an excellent job developing the main characters in the story. Readers watch all of the action of the story through Maizon’s eyes. Maizon and Margaret are typical twelve year olds. They are caught between childhood activities such as skipping rope and tickling each other and adolescent interests such as gossip and intense desire for peer acceptance. Even without reading the first novel, readers will see the love and companionship shared between Maizon and Margaret.
The other characters in the story are adequately developed. Marie, Charli, and Sheila are introduced to readers halfway into the novel. Their conversation, interaction, and casualness with one another provide insight for the readers and for Maizon. However, their insistence that Maizon limit her relationships to them and to avoid the white girls in the school offends Maizon. This presents an interesting dichotomy because Maizon had not expressed interest in developing friendships with her white counterparts. This can be seen in her interactions with her roommate, Sandy. Sandy is a friendly white girl who is also on scholarship. Maizon is moody and distant from her. It is not until the end of Maizon’s stay at Blue Hill that they develop a friendship. Maizon is independent; she will not allow anyone to limit her relationships. She is the only one who does that.
The events of MAIZON AT BLUE HILL flow together creating an original and credible plot. The plot is well constructed and logical. Encounters do not seem disjointed or artificial. Characters act and react within the personality restraints the author has established. Ms. Woodson uses action and dialogue to propel the storyline and create tension. The text is straightforward and direct. Readers do not need to interpret events and conversation. This is done for them. From the moment that Maizon steps onto the train toward Blue Hill and Connecticut, the text seems tense. Readers can sense Maizon’s feelings and apprehensions.
A sense of belonging is at the heart of MAIZON AT BLUE HILL. Everyone wants to feel that they fit in where they are planted. Maizon’s home is Brooklyn. Her best friend, her grandma, and her life are there. Throughout the novel, Ms. Woodson shows Maizon’s struggles with trying to find a place to fit in. This struggle can be clearly seen as Maizon visits the debate team’s meeting. Marie, Charli, and Sheila tell Maizon that debate team is nerdy and predominantly white. Maizon wants to investigate it for herself. The meeting does not go as Maizon expects. Maizon is drawn into a discussion about what Blue Hill “is like for her”. She plays with words and forces the girls to verbalize their curiosity about her because she is black. She does not fit in with the African American girls who have separated themselves from the rest of the students nor does she fit in with the white students whom she does not trust and does not want to entertain their curiosity. As Maizon’s feelings of disillusionment heighten, she proclaims, “I don’t not want to be a minority. I want to be in a school where that’s not an issue… I never had to think about it before and I don’t want to think about it now,” (Woodson 103). Maizon realizes that she does not belong at Blue Hill.
Ms. Woodson does an excellent job avoiding stereotypes and including cultural markers that add to the story’s authenticity. This novel does not contain any illustration. Ms. Woodson must only use her text to create authenticity. Word choice and description is incredibly important. Readers will use them to create their own pictures of characters. Ms. Woodson is deliberate to not use the same set of adjectives to describe characters, white or black. She uses, “caramel brown,” “brown-skinned”, “golden”, and “brown-haired”. It is evident that varying shades in both races exist in Brooklyn and at Blue Hill.
The tension that exists between white and black students also exists between the black students and one girl, Pauli, who is an “oreo”. Pauli is the child of an interracial marriage. Maizon is told that Pauli doesn’t “hang with the sisters” and that she “is assimilated” (Woodson 56). Marie, Charli, and Sheila resent Pauli’s decision to socialize with the white students and her lack of participation in Black History Month. However, Pauli didn’t want to hang with only three people. She saw herself as white and black and that she couldn’t choose between the two. She wasn’t “black enough” (Woodson 115). This viewpoint is authentic and valid. This situation is commonly faced by individuals of mixed ethnicity. This situation also weaves into Ms. Woodson’s overall theme of belonging.
Ms. Woodson uses language and conversation to combat stereotypes about how certain racial groups should speak. Most of the characters, white and black, speak correct English. “Yo! Margaret” is one of the only slang type sayings present in the text. Maizon and Margaret use proper English when they speak and write to one another. Charli, Marie, and Sheila use proper English when with the white students and when in private. There is no difference in how they talk. The three are more casual with one another, but the slang is limited in both conversations.
While this book does deal with tensions between the races, the situations presented are mild and would be an excellent book to read to young readers to begin a conversation about belonging and unity.
REVIEWS
From SCHOOL LIBRARY JOURNAL: “…this book provides a provocative glimpse of the pain and beauty of a gifted girl's adolescence. Readers will eagerly await the third title from this articulate new voice”—Marie Orlando.
From PUBLISHER’S WEEKLY: “This simply told, finely crafted sequel to Last Summer with Maizon neatly avoids predictability while offering a perspective on racism and elitism rarely found in fiction for this age group”.
CONNECTIONS
Reading MAIZON AT BLUE HILL will begin an author study on Jacqueline Woodson.
http://www.jacquelinewoodson.com/
http://www.teenreads.com/authors/au-woodson-jacqueline.asp
http://en.wikipedia.org/wiki/Jacqueline_Woodson
Students will read other books by Jacqueline Woodson and participate in Discussion groups with other students who have chosen the same book. NOTE: All students must read at least one picture book.
This novel is not illustrated. Characters are described with words not illustration. Students will draw the main characters: Margaret, Grandma, Marie, Charli, Sheila, Sandy, Sybil, and Susan.
Students will write at least two sentences expressing what made them illustrate the characters as they have. What text clues or references led them to this drawing?
Students will also draw an aerial map of Blue Hill School. Where do they imagine building locations?
Monday, June 23, 2008
LS 5653: Module 2 --ABBY TAKES A STAND
BIBLIOGRAPHY
McKissack, Patricia. 2005. ABBY TAKES A STAND. Illus. by Gordon C. James. Penguin Group: New York. ISBN: 0-670-06011-9.
PLOT SUMMARY
Gee’s grandchildren stumble upon some mementos or “scraps of time” while in the attic. When one of the children picks up an old restaurant menu, Gee, also known as Abby, retells the events of 1960 in Nashville, Tennessee. When Gee was not given service because of the color of her skin, she and her mother are drawn into the Civil Rights struggle of the 1960s. Gee becomes an activist and joins the flyer brigade and watches as family and friends risk everything to participate in sit-ins and to enact social change. Gee learns about being involved in something bigger than oneself. The efforts in their area of Nashville were successful. Gee’s grandchildren continue exploring the attic finding other items that could be a story in the future.
CRITICAL ANALYSIS
Patricia McKissack uses a flashback sequence to tell of one woman’s experience with the Civil Rights movement. This woman, now a grandmother, is sharing this first hand experience with her grandchildren, the next generation of potential activists.
ABBY TAKES A STAND is a triumphant tale of a young girl’s involvement with the Civil Rights movement. The action is well paced and plausible. The plot is well constructed, well researched, and logical. Although these events are not based on a true story, they fit into historical accounts of events. Abby does not begin the story as an activist. She is an accidental advocate. Abby and her mother become involved in the movement because of a first hand experience, not the hearsay or words of others.
Due to the nature of the events in the story, the mood is often tense and stressful. Activists are attacked with eggs and words. But hopelessness never lasts. Ms. McKissack always inserts a character’s voice that raises the mood and the spirits of the activists. This also raises the spirits of the readers. The tension reaches a plateau when the Patsy returns from her summer trip and wants to go Downtown to see what is going on. When Patsy and Abby arrive, they are surprised by the anger and hatred they see. A mob has formed and is threatening to lynch the protestors. Seeing the face of the movement so close overwhelms the girls, but they understand what they are fighting for and against. Ms. McKissack does not leave the reader with this sullen mood. The protestors are successful in Nashville, and she leaves the activists and the readers victorious.
Character development is vital but takes a backseat to the events of this novel. However, Ms. McKissack does develop the characters thoroughly enough to support the credibility of the events. She does not provide characterization of Abby’s young grandchildren. Readers learn their names and see an illustration of these children, but they are not part of the story. Readers are quickly introduced to Abby, her best friend Patsy, and their secret handshake. They are typical young girls who giggle and want to share secrets. Abby’s mother is a strong female character. It is revealed that her husband passed away years ago, but when Abby is wronged in Harvey’s Department Store, she does not hesitate to defend her daughter and their rights, even without the protection of a man. Abby’s cousin John also becomes involved in the Civil Rights struggle after Abby’s encounter in Harvey’s Department Store. Ms. McKissack wisely makes John’s parents resistant to involvement in the movement. This adds realism and credibility. Not all African Americans supported sit-ins, marches, and boycotts.
The illustrations in ABBY TAKES A STAND are limited. The isolated illustrations present add depth and understanding to the story. The illustrations are black and white. This could be viewed as symbolic of the Civil Rights Struggle. Even without vivid color, Gordon C. James does an excellent job reflecting a distinction between the faces, skin tones, clothing, and hair styles of the characters. Readers can tell a difference between the characters. Every face is not a copy of the one next to it. The sketch-like quality of the illustrations makes each image seem as if it were drawn by a spectator. This makes the drawings seem more realistic, and the overall story seem more credible.
The text continues to reflect this web of cultural authenticity. The story’s language pattern reflects careful research into the time period and the events. This story takes place in 1960. Current urban slang is not included. Neither is the black dialect read so often in books from the era of the 1920s-1930s. That is not how African Americans talked in the 1960s, and Ms. McKissack is certain not to further linguistic stereotypes by utilizing that language style.
Religion was an integral part of the Civil Rights Movement. ABBY TAKES A STAND is accurate in its reflection of this bond. Churches were havens for meetings. They could hold large numbers of people, and people could meet initially without garnering suspicion. In this story, Civil Rights meetings and sit-in planning meetings are held at the First Baptist Church and the African Methodist Episcopal Church. Many of the speakers are preachers. One preacher encouraged the crowd by singing an old Negro Spiritual. Those spirituals offered words and sounds of encouragement and solidarity. They reminded the listeners of how to act and how to react.
ABBY TAKES A STAND is a novel that tackles a difficult topic, racism, and leaves the reader with a powerful message of hope and change. This book presents tense images without over dramatization and moralizing. This would be an excellent book to use to introduce the Civil Rights Movement creatively. This will broaden readers’ view of the movement without solely relying on Martin Luther King Jr. and Rosa Parks biographies.
REVIEW EXCERPTS
From BOOKLIST—“Although short and simply told, the book gives readers a kid's-eye view of important happenings and reminds them that history is something that is always in the making. Fine black-and-white art adds to the ambience of the time.”
From SCHOOL LIBRARY JOURNAL – “This easy chapter book, with simple sentences, plenty of white space, and a liberal sprinkling of Gordon's expressive black-and-white drawings, is an appealing and welcome title.”
CONNECTIONS
This website is a PDF file for a teacher-created set of activities for ABBY TAKES A STAND. Students will work on linking text to other information in the text and will work on making predictions.
http://www.horrycountyschools.net/Departments/Instruction/SocialStudies/confer ence/AbbyTakesaStandTemplate.pdf
Using the following website, students will study examine non-violent protest. Are there any situations in the world that require non-violent protest? Does non-violent protest work? Are there situations when it does not work?
SparkNotes: The Civil Rights Era (1865–1970): Nonviolent Protest: 1960–1963
198 Methods of Nonviolent Protest and Persuasion
http://en.wikipedia.org/wiki/Nonviolent_resistance
McKissack, Patricia. 2005. ABBY TAKES A STAND. Illus. by Gordon C. James. Penguin Group: New York. ISBN: 0-670-06011-9.
PLOT SUMMARY
Gee’s grandchildren stumble upon some mementos or “scraps of time” while in the attic. When one of the children picks up an old restaurant menu, Gee, also known as Abby, retells the events of 1960 in Nashville, Tennessee. When Gee was not given service because of the color of her skin, she and her mother are drawn into the Civil Rights struggle of the 1960s. Gee becomes an activist and joins the flyer brigade and watches as family and friends risk everything to participate in sit-ins and to enact social change. Gee learns about being involved in something bigger than oneself. The efforts in their area of Nashville were successful. Gee’s grandchildren continue exploring the attic finding other items that could be a story in the future.
CRITICAL ANALYSIS
Patricia McKissack uses a flashback sequence to tell of one woman’s experience with the Civil Rights movement. This woman, now a grandmother, is sharing this first hand experience with her grandchildren, the next generation of potential activists.
ABBY TAKES A STAND is a triumphant tale of a young girl’s involvement with the Civil Rights movement. The action is well paced and plausible. The plot is well constructed, well researched, and logical. Although these events are not based on a true story, they fit into historical accounts of events. Abby does not begin the story as an activist. She is an accidental advocate. Abby and her mother become involved in the movement because of a first hand experience, not the hearsay or words of others.
Due to the nature of the events in the story, the mood is often tense and stressful. Activists are attacked with eggs and words. But hopelessness never lasts. Ms. McKissack always inserts a character’s voice that raises the mood and the spirits of the activists. This also raises the spirits of the readers. The tension reaches a plateau when the Patsy returns from her summer trip and wants to go Downtown to see what is going on. When Patsy and Abby arrive, they are surprised by the anger and hatred they see. A mob has formed and is threatening to lynch the protestors. Seeing the face of the movement so close overwhelms the girls, but they understand what they are fighting for and against. Ms. McKissack does not leave the reader with this sullen mood. The protestors are successful in Nashville, and she leaves the activists and the readers victorious.
Character development is vital but takes a backseat to the events of this novel. However, Ms. McKissack does develop the characters thoroughly enough to support the credibility of the events. She does not provide characterization of Abby’s young grandchildren. Readers learn their names and see an illustration of these children, but they are not part of the story. Readers are quickly introduced to Abby, her best friend Patsy, and their secret handshake. They are typical young girls who giggle and want to share secrets. Abby’s mother is a strong female character. It is revealed that her husband passed away years ago, but when Abby is wronged in Harvey’s Department Store, she does not hesitate to defend her daughter and their rights, even without the protection of a man. Abby’s cousin John also becomes involved in the Civil Rights struggle after Abby’s encounter in Harvey’s Department Store. Ms. McKissack wisely makes John’s parents resistant to involvement in the movement. This adds realism and credibility. Not all African Americans supported sit-ins, marches, and boycotts.
The illustrations in ABBY TAKES A STAND are limited. The isolated illustrations present add depth and understanding to the story. The illustrations are black and white. This could be viewed as symbolic of the Civil Rights Struggle. Even without vivid color, Gordon C. James does an excellent job reflecting a distinction between the faces, skin tones, clothing, and hair styles of the characters. Readers can tell a difference between the characters. Every face is not a copy of the one next to it. The sketch-like quality of the illustrations makes each image seem as if it were drawn by a spectator. This makes the drawings seem more realistic, and the overall story seem more credible.
The text continues to reflect this web of cultural authenticity. The story’s language pattern reflects careful research into the time period and the events. This story takes place in 1960. Current urban slang is not included. Neither is the black dialect read so often in books from the era of the 1920s-1930s. That is not how African Americans talked in the 1960s, and Ms. McKissack is certain not to further linguistic stereotypes by utilizing that language style.
Religion was an integral part of the Civil Rights Movement. ABBY TAKES A STAND is accurate in its reflection of this bond. Churches were havens for meetings. They could hold large numbers of people, and people could meet initially without garnering suspicion. In this story, Civil Rights meetings and sit-in planning meetings are held at the First Baptist Church and the African Methodist Episcopal Church. Many of the speakers are preachers. One preacher encouraged the crowd by singing an old Negro Spiritual. Those spirituals offered words and sounds of encouragement and solidarity. They reminded the listeners of how to act and how to react.
ABBY TAKES A STAND is a novel that tackles a difficult topic, racism, and leaves the reader with a powerful message of hope and change. This book presents tense images without over dramatization and moralizing. This would be an excellent book to use to introduce the Civil Rights Movement creatively. This will broaden readers’ view of the movement without solely relying on Martin Luther King Jr. and Rosa Parks biographies.
REVIEW EXCERPTS
From BOOKLIST—“Although short and simply told, the book gives readers a kid's-eye view of important happenings and reminds them that history is something that is always in the making. Fine black-and-white art adds to the ambience of the time.”
From SCHOOL LIBRARY JOURNAL – “This easy chapter book, with simple sentences, plenty of white space, and a liberal sprinkling of Gordon's expressive black-and-white drawings, is an appealing and welcome title.”
CONNECTIONS
This website is a PDF file for a teacher-created set of activities for ABBY TAKES A STAND. Students will work on linking text to other information in the text and will work on making predictions.
http://www.horrycountyschools.net/Departments/Instruction/SocialStudies/confer ence/AbbyTakesaStandTemplate.pdf
Using the following website, students will study examine non-violent protest. Are there any situations in the world that require non-violent protest? Does non-violent protest work? Are there situations when it does not work?
SparkNotes: The Civil Rights Era (1865–1970): Nonviolent Protest: 1960–1963
198 Methods of Nonviolent Protest and Persuasion
http://en.wikipedia.org/wiki/Nonviolent_resistance
LS 5653: Module 2-- MINTY
BIBLIOGRAPHY
Schroeder, Alan. 1996. MINTY: A STORY OF YOUNG HARRIET TUBMAN. Illus. by Jerry Pickney. Dial Books for Young Readers: New York. ISBN: 0-8037-1889-6 (library binding) ISBN: 0-8037-1888-8 (trade).
PLOT SUMMARY
This is a short fictionalized biography about the early years of Harriet Tubman, or Minty. Life on the Broadas plantation in Maryland is challenging. Things don’t make sense to Minty. She is deemed a “difficult slave” for her inappropriate, defiant actions and her clumsy ways. Because she is not easy to train, she is sent to work in the fields of the plantation under the constant threat of being “Sold South”. When Minty is caught disobeying the overseer by freeing muskrats from the traps instead of stuffing them into a sack, she is so severely whipped it took her many days to recover. After this, Minty constantly dreams of running away and freedom. Her father begins to teach her to how to survive an escape by looking for the Drinking Gourd and following the North Star. He teaches her how to swim, how to read a tree, and how to move through the forest and not be heard. Then one night, Minty sees an opportunity to run away, but she does not seize it. She is upset by her inaction, but she knows that one day she will have the courage that will carry her to freedom.
CRITICAL ANALYSIS
This brief glimpse into the early years of Harriet Tubman’s life provides insight into the future leader she was to become. Readers should be aware that this biography is fictionalized. At the beginning of the text, Mr. Schroeder explains what elements of the story are facts and what are fiction. Harriet Tubman’s cradle name was Araminta. She was a slave on the Brodas plantation in Maryland. She was viewed as too clumsy and docile to be a house slave, so she was sent to work in the fields. Harriet was assigned to tending the muskrat traps on the plantation. However it is not known whether she was seen freeing muskrats as she does in the story. This element was added. It does seem realistic that a woman that would one day free many slaves would free muskrats. But this is not proven.
The setting of this story is the Brodas plantation in Maryland. This is the planation that Harriet Tubman was known to work when she was young. Despite the horrors that Harriet endures, the constant threat of being “sold South” leaves the reader with one realization. The reader realizes that no matter what Harriet is enduring here, the South will be far more horrific. Because this plantation is not in the Deep South, the dialect of the slaves in the story reflects this. The language is not proper English but not full of southern accent. Many words are abbreviated, for example of is “ o’ ”, and “cause”. The word “ain’t” is also used quite regularly. Readers should note the use of the words “missus”, “mister”, and “gal”. These terms were used during this era to reflect respect or a lack of respect. Their use lends to the story’s historical and cultural authenticity.
The plot of this story is plausible. Harriet is a slave who’s will and personality initially lead her into harm’s way. Readers know that she eventually escapes from slavery and founds the Underground Railroad. The brief segment of Harriet’s life gives the reader a possible explanation for how Harriet became who she was. The events in this story reveal her determined and tenacious spirit. The plot is logical but not overwhelmed by details. Readers understand what is happening without every minute detail. These events are not sugar-coated. When Harriet is beaten, readers are told that she could not walk for many days. This paints a grim picture for the torment that was heaped upon this child.
Freedom and hope are themes that are woven into the text of MINTY. Harriet’s spirit is never broken. She is always dreaming of freedom. Her father sees this dream and does not extinguish it. Rather he helps it flourish by teaching Harriet how to read the moss on trees and how to walk without being heard. Even when Harriet misses the escape attempt, her disappointment gives way to hope. She knows that one day she will be able to go muster the courage required for an escape.
Mr. Schroeder weaves religion and the usage of the North Star into the text fluidly. Religious stories of triumph were often sources of comfort. If that person could do this great feat, then so could they. At the beginning of the text, Harriet is retelling the biblical story of David’s rise after killing Goliath. She describes him as “never hungry or nothin’ again”. It is known that conductors on the Underground Railroad followed the North Star and the Big Dipper, also known as the Drinking Gourd. This book provides one explanation for how and why Harriet used this method. It was taught to her by a respected man, her father. When she escaped and helped others escape, she used the method she knew.
The illustrations for MINTY are phenomenal. They are colorful, rich, and vibrant. Jerry Pinkney includes a note of explanation for the illustrations at the start of the book. He wants the readers to understand the research and realism that is held in every water color and colored pencil illustration. These illustrations were not simply imaginative drawings. They are the result of thorough planning and effort. These authentic illustrations fill each pair of pages; they envelope the text. The images of the rural nature of the plantation capture the essence of the setting and are historically accurate.
The faces of the people show the emotion of the moment and state of affairs in Maryland in the 1820s. Despite the common race of all of the slaves, Mr. Pinkney created every face to represent an individual person, not a herd of formless humanity. Skin tones are varied. Facial features and hair styles are individualized. Even the clothing of the slaves is unique for each person. While each separate character has his/her style of clothing, it is apparent that the selection is limited. In most cases, each character is only seen in one outfit throughout the book.
MINTY is an excellent book. It would provide a fantastic introduction to the life of Harriet Tubman. Readers should simply be aware that many events were embellished.
REVIEW EXCERPTS
Winner of the 1997 Coretta Scott King Award for Illustration An ALA Notable Book An American Bookseller "Pick of the Lists" A Time Magazine Best Children's Book of the Year Winner of the Christopher Award
From KIRKUS REVIEWS—“Rich with melodrama, suspense, pathos, and a powerful vision of freedom. This exquisitely crafted book resonates well beyond its few pages.”
From 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.”
From PUBLISHER’S WEEKLY—“A firm stepping stone toward discussions of slavery and U.S. history.”
CONNECTIONS
Students will investigate factual sites about Harriet Tubman and discuss whether the events in this fictionalized biography seem realistic. They will also discuss what they think Ms. Tubman’s actual escape experience was prior to researching this topic.
http://www.nyhistory.com/harriettubman/
http://www.math.buffalo.edu/~sww/0history/hwny-tubman.html
http://www.incwell.com/Biographies/Tubman.html
Harriet Tubman’s bravery and determination founded the Underground Railroad. Students will map routes and research the Underground Railroad.
http://education.ucdavis.edu/NEW/STC/lesson/socstud/railroad/Map.htm
http://www2.lhric.org/Pocantico/tubman/map.htm
http://www.nationalgeographic.com/railroad/map.html
http://www.slaveryinamerica.org/geography/ugrr_1860.htm
Students will discuss the value of fictionalized biographies. Do they serve a purpose? Why would authors write them? Are they considered valid and authentic?
Schroeder, Alan. 1996. MINTY: A STORY OF YOUNG HARRIET TUBMAN. Illus. by Jerry Pickney. Dial Books for Young Readers: New York. ISBN: 0-8037-1889-6 (library binding) ISBN: 0-8037-1888-8 (trade).
PLOT SUMMARY
This is a short fictionalized biography about the early years of Harriet Tubman, or Minty. Life on the Broadas plantation in Maryland is challenging. Things don’t make sense to Minty. She is deemed a “difficult slave” for her inappropriate, defiant actions and her clumsy ways. Because she is not easy to train, she is sent to work in the fields of the plantation under the constant threat of being “Sold South”. When Minty is caught disobeying the overseer by freeing muskrats from the traps instead of stuffing them into a sack, she is so severely whipped it took her many days to recover. After this, Minty constantly dreams of running away and freedom. Her father begins to teach her to how to survive an escape by looking for the Drinking Gourd and following the North Star. He teaches her how to swim, how to read a tree, and how to move through the forest and not be heard. Then one night, Minty sees an opportunity to run away, but she does not seize it. She is upset by her inaction, but she knows that one day she will have the courage that will carry her to freedom.
CRITICAL ANALYSIS
This brief glimpse into the early years of Harriet Tubman’s life provides insight into the future leader she was to become. Readers should be aware that this biography is fictionalized. At the beginning of the text, Mr. Schroeder explains what elements of the story are facts and what are fiction. Harriet Tubman’s cradle name was Araminta. She was a slave on the Brodas plantation in Maryland. She was viewed as too clumsy and docile to be a house slave, so she was sent to work in the fields. Harriet was assigned to tending the muskrat traps on the plantation. However it is not known whether she was seen freeing muskrats as she does in the story. This element was added. It does seem realistic that a woman that would one day free many slaves would free muskrats. But this is not proven.
The setting of this story is the Brodas plantation in Maryland. This is the planation that Harriet Tubman was known to work when she was young. Despite the horrors that Harriet endures, the constant threat of being “sold South” leaves the reader with one realization. The reader realizes that no matter what Harriet is enduring here, the South will be far more horrific. Because this plantation is not in the Deep South, the dialect of the slaves in the story reflects this. The language is not proper English but not full of southern accent. Many words are abbreviated, for example of is “ o’ ”, and “cause”. The word “ain’t” is also used quite regularly. Readers should note the use of the words “missus”, “mister”, and “gal”. These terms were used during this era to reflect respect or a lack of respect. Their use lends to the story’s historical and cultural authenticity.
The plot of this story is plausible. Harriet is a slave who’s will and personality initially lead her into harm’s way. Readers know that she eventually escapes from slavery and founds the Underground Railroad. The brief segment of Harriet’s life gives the reader a possible explanation for how Harriet became who she was. The events in this story reveal her determined and tenacious spirit. The plot is logical but not overwhelmed by details. Readers understand what is happening without every minute detail. These events are not sugar-coated. When Harriet is beaten, readers are told that she could not walk for many days. This paints a grim picture for the torment that was heaped upon this child.
Freedom and hope are themes that are woven into the text of MINTY. Harriet’s spirit is never broken. She is always dreaming of freedom. Her father sees this dream and does not extinguish it. Rather he helps it flourish by teaching Harriet how to read the moss on trees and how to walk without being heard. Even when Harriet misses the escape attempt, her disappointment gives way to hope. She knows that one day she will be able to go muster the courage required for an escape.
Mr. Schroeder weaves religion and the usage of the North Star into the text fluidly. Religious stories of triumph were often sources of comfort. If that person could do this great feat, then so could they. At the beginning of the text, Harriet is retelling the biblical story of David’s rise after killing Goliath. She describes him as “never hungry or nothin’ again”. It is known that conductors on the Underground Railroad followed the North Star and the Big Dipper, also known as the Drinking Gourd. This book provides one explanation for how and why Harriet used this method. It was taught to her by a respected man, her father. When she escaped and helped others escape, she used the method she knew.
The illustrations for MINTY are phenomenal. They are colorful, rich, and vibrant. Jerry Pinkney includes a note of explanation for the illustrations at the start of the book. He wants the readers to understand the research and realism that is held in every water color and colored pencil illustration. These illustrations were not simply imaginative drawings. They are the result of thorough planning and effort. These authentic illustrations fill each pair of pages; they envelope the text. The images of the rural nature of the plantation capture the essence of the setting and are historically accurate.
The faces of the people show the emotion of the moment and state of affairs in Maryland in the 1820s. Despite the common race of all of the slaves, Mr. Pinkney created every face to represent an individual person, not a herd of formless humanity. Skin tones are varied. Facial features and hair styles are individualized. Even the clothing of the slaves is unique for each person. While each separate character has his/her style of clothing, it is apparent that the selection is limited. In most cases, each character is only seen in one outfit throughout the book.
MINTY is an excellent book. It would provide a fantastic introduction to the life of Harriet Tubman. Readers should simply be aware that many events were embellished.
REVIEW EXCERPTS
Winner of the 1997 Coretta Scott King Award for Illustration An ALA Notable Book An American Bookseller "Pick of the Lists" A Time Magazine Best Children's Book of the Year Winner of the Christopher Award
From KIRKUS REVIEWS—“Rich with melodrama, suspense, pathos, and a powerful vision of freedom. This exquisitely crafted book resonates well beyond its few pages.”
From 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.”
From PUBLISHER’S WEEKLY—“A firm stepping stone toward discussions of slavery and U.S. history.”
CONNECTIONS
Students will investigate factual sites about Harriet Tubman and discuss whether the events in this fictionalized biography seem realistic. They will also discuss what they think Ms. Tubman’s actual escape experience was prior to researching this topic.
http://www.nyhistory.com/harriettubman/
http://www.math.buffalo.edu/~sww/0history/hwny-tubman.html
http://www.incwell.com/Biographies/Tubman.html
Harriet Tubman’s bravery and determination founded the Underground Railroad. Students will map routes and research the Underground Railroad.
http://education.ucdavis.edu/NEW/STC/lesson/socstud/railroad/Map.htm
http://www2.lhric.org/Pocantico/tubman/map.htm
http://www.nationalgeographic.com/railroad/map.html
http://www.slaveryinamerica.org/geography/ugrr_1860.htm
Students will discuss the value of fictionalized biographies. Do they serve a purpose? Why would authors write them? Are they considered valid and authentic?
Saturday, June 14, 2008
LS 5653: MODULE 1: KOALA LOU
BIBLIOGRAPHY:
Fox, Mem. 1988. KOALA LOU. Illus. by Pamela Lofts. (city not listed): Ian Drakeford Publishing. ISBN: 0-15-200502-1
Fox, Mem. 1988. KOALA LOU. Illus. by Pamela Lofts. New York: Harcourt Brace Jovanovich. ISBN: 0-15-200502-1
PLOT SUMMARY
A young koala bear is loved by all who know her. But most of all, she is loved by her mother. However, as she grows up, her mother has other koala children, and Koala Lou worries that she has been replaced in her mother’s heart. She devises a plan to win back her mother’s attention and affection. Koala Lou works hard but falls short of winning the competition she believes will return her mother’s love. Despite her apparent failure, she discovers that her mother’s love had always been with her and will never leave her.
CRITICAL ANALYSIS
The unconditional love of a mother is something that most individuals experience. Most individuals also experience some type of life event that makes him/her question that same mother’s love.
Koala Lou is a lovable koala bear. She is surrounded by friends and a mother who love her dearly, yet she is still insecure about her mother’s love. She worries that she will be replaced. This vulnerability makes Koala Lou more appealing and credible. She has weaknesses and lets them show. Her actions and thoughts are consistent with those of a young child. Children will relate with her.
The plot and the setting are simple. The plot is easy to follow and logical. The climatic events at the Bush Olympics are disappointing for Koala Lou but allow her to mature and realize that a mother’s love is not based on being the best, but rather being oneself. Although the setting is not explicitly stated, the animals that are present lead the reader to believe the story is set in Australia.
The theme of the unfailing and unchanging nature of a mother’s love is important for young children, and even older individuals, to grasp. While it is an integral part of the story, it emerges naturally. Readers may expect Koala Lou to be victorious at the Bush Olympics. However, if she had been, the theme would unravel. Actions are not what elicit love. Love simply is; it is not earned.
Ms. Lofts’ illustrations are colorful and bring the characters to life. All of the animal characters are detailed and realistic. Despite the animal bodies, each character seems to have human-looking eyes. These eyes look out at the reader and draw him/her into the story of Koala Lou. Many of the illustrations are framed with a thin border. This border does not limit all of the illustration but frames a portion of it. The borders do not keep the all of the illustration within it. Several pictures branch out from this frame, making the two dimensional picture appear three-dimensional.
KOALA LOU is considered International literature. It has been published in many different countries and for many different readers. The text, theme, and illustrations are capable of overcoming and transcending all differences and creating a story that is appealing to all readers. Students could develop interest in the animals of Australia after reading this text. This is not the author’s true intent. The characters could be from any continent. This allows the story to appeal to all cultures. It is not culturally or nationally specific. A mother’s love exists in all nations.
REVIEW EXCERPTS
From PUBLISHER’S WEEKLY: “Koala Lou celebrates the eternal love of a mother for her child without the sentimentality of Robert Munsch's Love You Forever.”
From SCHOOL LIBRARY JOURNAL: “Koala Lou is appealing and truly believable…Fox brings out the best in her characters, and also conveys an important message about competition.”
From THE HORN BOOK MAGAZINE: “A first-rate choice for bedtime, story hour or reading aloud.”
CONNECTIONS
This is a bibliography of other books about Australian wildlife.
Australian wildlife for children
This website would be an excellent resource to use for an author study.
Mem Fox » Welcome!
The following are websites about koala bears.
San Diego Zoo's Animal Bytes: Koala
Koala facts
Koala -- Kids' Planet -- Defenders of Wildlife
Fox, Mem. 1988. KOALA LOU. Illus. by Pamela Lofts. (city not listed): Ian Drakeford Publishing. ISBN: 0-15-200502-1
Fox, Mem. 1988. KOALA LOU. Illus. by Pamela Lofts. New York: Harcourt Brace Jovanovich. ISBN: 0-15-200502-1
PLOT SUMMARY
A young koala bear is loved by all who know her. But most of all, she is loved by her mother. However, as she grows up, her mother has other koala children, and Koala Lou worries that she has been replaced in her mother’s heart. She devises a plan to win back her mother’s attention and affection. Koala Lou works hard but falls short of winning the competition she believes will return her mother’s love. Despite her apparent failure, she discovers that her mother’s love had always been with her and will never leave her.
CRITICAL ANALYSIS
The unconditional love of a mother is something that most individuals experience. Most individuals also experience some type of life event that makes him/her question that same mother’s love.
Koala Lou is a lovable koala bear. She is surrounded by friends and a mother who love her dearly, yet she is still insecure about her mother’s love. She worries that she will be replaced. This vulnerability makes Koala Lou more appealing and credible. She has weaknesses and lets them show. Her actions and thoughts are consistent with those of a young child. Children will relate with her.
The plot and the setting are simple. The plot is easy to follow and logical. The climatic events at the Bush Olympics are disappointing for Koala Lou but allow her to mature and realize that a mother’s love is not based on being the best, but rather being oneself. Although the setting is not explicitly stated, the animals that are present lead the reader to believe the story is set in Australia.
The theme of the unfailing and unchanging nature of a mother’s love is important for young children, and even older individuals, to grasp. While it is an integral part of the story, it emerges naturally. Readers may expect Koala Lou to be victorious at the Bush Olympics. However, if she had been, the theme would unravel. Actions are not what elicit love. Love simply is; it is not earned.
Ms. Lofts’ illustrations are colorful and bring the characters to life. All of the animal characters are detailed and realistic. Despite the animal bodies, each character seems to have human-looking eyes. These eyes look out at the reader and draw him/her into the story of Koala Lou. Many of the illustrations are framed with a thin border. This border does not limit all of the illustration but frames a portion of it. The borders do not keep the all of the illustration within it. Several pictures branch out from this frame, making the two dimensional picture appear three-dimensional.
KOALA LOU is considered International literature. It has been published in many different countries and for many different readers. The text, theme, and illustrations are capable of overcoming and transcending all differences and creating a story that is appealing to all readers. Students could develop interest in the animals of Australia after reading this text. This is not the author’s true intent. The characters could be from any continent. This allows the story to appeal to all cultures. It is not culturally or nationally specific. A mother’s love exists in all nations.
REVIEW EXCERPTS
From PUBLISHER’S WEEKLY: “Koala Lou celebrates the eternal love of a mother for her child without the sentimentality of Robert Munsch's Love You Forever.”
From SCHOOL LIBRARY JOURNAL: “Koala Lou is appealing and truly believable…Fox brings out the best in her characters, and also conveys an important message about competition.”
From THE HORN BOOK MAGAZINE: “A first-rate choice for bedtime, story hour or reading aloud.”
CONNECTIONS
This is a bibliography of other books about Australian wildlife.
Australian wildlife for children
This website would be an excellent resource to use for an author study.
Mem Fox » Welcome!
The following are websites about koala bears.
San Diego Zoo's Animal Bytes: Koala
Koala facts
Koala -- Kids' Planet -- Defenders of Wildlife
LS 5653: MODULE 1: THE PRINCESS KNIGHT
BIBLIOGRAPHY
Funke, Cornelia. 2001. THE PRINCESS KNIGHT. Illus. by Kerstin Meyer. Fischer Taschenbuch: Verlag, GMBH (Germany). ISBN: 0-439-53630-8.
Funke, Cornelia. 2003. THE PRINCESS KNIGHT. Illus. by Kerstin Meyer. Translated by Anthea Bell. Chicken House: Frome, Somerset, United Kingdom. ISBN: 0-439-53630-8.
PLOT SUMMARY
After the death of her mother, Princess Violetta is raised by her father, the king, in the same manner her older brothers were. Her size, her brothers’ ridicule, nor her nursemaid’s more feminine suggestions dissuade her efforts to fight as her brothers do. She practices her skills at night and becomes an excellent competitor. Just before her 16th birthday, her father informs her that there will be a jousting competition for all of the young knights in the land. The victor’s prize will be Violetta’s hand in marriage. Her protests fall on deaf ears and her brother’s attempt to console Violetta offer no solace. So Violetta devises a plan to save herself from this situation. Violetta’s plan is successful. She stands up to her father and gains respect, admiration, and freedom. At the end of the tale, she marries and lives happily ever after.
CRITICAL ANALYSIS
Stories about princesses and knights pervade children’s literature. With the plethora of material that is already available, THE PRINCESS KNIGHT is an unexpectedly refreshing tale.
The heroine, Violetta, does not fall into the stereotypical princess category. She is raised as her brothers and is interested in being a knight. In expected fashion, her brothers are smug and condescending. Unsure of how to raise his daughter, the king encourages this type of behavior but has an abrupt change of heart when it is time for this daughter to marry. The characters are well delineated and developed.
Gender and expectations should not dictate how one lives his/her life. One’s life path is dictated by one’s own choices and actions. This theme is important for children to understand as they grow and mature. However, it is not presented in a moralizing manner. It is subtle and underlying. It is not overpowering. Children will realize the lesson of the story without it ever being stated.
Ms. Funke uses simple words and sentence structure when telling the story of Violetta. However she does not oversimplify vocabulary and context. She blends direct quotation and narration together in an excellent manner. Readers feel as though they understand the characters’ thoughts while watching the action unfold.
Ms. Meyer’s illustrations add a magnificent sweetness to the Violetta’s tale of triumph. Her cartoon drawings reveal the fantastical nature of the story but also allow the reader to see more dramatic facial expressions and emotion. The illustrations cover the entire page and are often in several rows across the pages. They parallel the text and guide the young reader’s eye and enhance comprehension.
This book is considered International Literature. It was originally published in Germany and then the United Kingdom prior to its arrival in the United States. The story is laden with references and situations that only happen in a monarchy, for example, the king having a tournament to see who will marry the princess. However, these ideas are not unfamiliar to many children throughout the world. Despite some of these references that are predominantly part of European history, this story is not so specific that it cannot be translated into other languages and easily understood. It is international. It has international appeal. The characters in this story could be any ethnicity. Overcoming obstacles and becoming who one wants to be not who s/he is expected to be is an international theme. It is not confined to one set of borders. It spans the globe.
REVIEW EXCERPTS
From AMAZON.COM : “Funke does well in this picturebook format, but Kerstin Meyer's delicate and extremely cute illustrations set the quiet, measured (but still fun) tone of the Princess Knight, as she takes inspiration from a bona fide medieval piece of art--the 11th-century Bayeux Tapestry (Ages 4 to 8”) --Paul Hughes
PUBLISHER’S WEEKLY: Starred Review
BOOKLIST: Starred Review: “This jaunty parable offers children an endearing, indomitable character along with a lesson in girl power.”
CONNECTIONS
This website would be excellent for an author’s study.
The World of Cornelia Funke - Writer of children's books -> Overview
Read and discuss this book with other gentle feminist messages:
THE PAPER BAG PRINCESS by Robert Munsch
THE KING’S EQUAL by Katherine Paterson
Students would read a traditional “princess” fairy tale. After reading THE PRINCESS KNIGHT, students would compare and contrast the two tales. They would rewrite the traditional tale, giving it a “girl-power” twist and rewrite THE PRINCESS KNIGHT making it reflect the actions in less feminist princess fairy tales.
Funke, Cornelia. 2001. THE PRINCESS KNIGHT. Illus. by Kerstin Meyer. Fischer Taschenbuch: Verlag, GMBH (Germany). ISBN: 0-439-53630-8.
Funke, Cornelia. 2003. THE PRINCESS KNIGHT. Illus. by Kerstin Meyer. Translated by Anthea Bell. Chicken House: Frome, Somerset, United Kingdom. ISBN: 0-439-53630-8.
PLOT SUMMARY
After the death of her mother, Princess Violetta is raised by her father, the king, in the same manner her older brothers were. Her size, her brothers’ ridicule, nor her nursemaid’s more feminine suggestions dissuade her efforts to fight as her brothers do. She practices her skills at night and becomes an excellent competitor. Just before her 16th birthday, her father informs her that there will be a jousting competition for all of the young knights in the land. The victor’s prize will be Violetta’s hand in marriage. Her protests fall on deaf ears and her brother’s attempt to console Violetta offer no solace. So Violetta devises a plan to save herself from this situation. Violetta’s plan is successful. She stands up to her father and gains respect, admiration, and freedom. At the end of the tale, she marries and lives happily ever after.
CRITICAL ANALYSIS
Stories about princesses and knights pervade children’s literature. With the plethora of material that is already available, THE PRINCESS KNIGHT is an unexpectedly refreshing tale.
The heroine, Violetta, does not fall into the stereotypical princess category. She is raised as her brothers and is interested in being a knight. In expected fashion, her brothers are smug and condescending. Unsure of how to raise his daughter, the king encourages this type of behavior but has an abrupt change of heart when it is time for this daughter to marry. The characters are well delineated and developed.
Gender and expectations should not dictate how one lives his/her life. One’s life path is dictated by one’s own choices and actions. This theme is important for children to understand as they grow and mature. However, it is not presented in a moralizing manner. It is subtle and underlying. It is not overpowering. Children will realize the lesson of the story without it ever being stated.
Ms. Funke uses simple words and sentence structure when telling the story of Violetta. However she does not oversimplify vocabulary and context. She blends direct quotation and narration together in an excellent manner. Readers feel as though they understand the characters’ thoughts while watching the action unfold.
Ms. Meyer’s illustrations add a magnificent sweetness to the Violetta’s tale of triumph. Her cartoon drawings reveal the fantastical nature of the story but also allow the reader to see more dramatic facial expressions and emotion. The illustrations cover the entire page and are often in several rows across the pages. They parallel the text and guide the young reader’s eye and enhance comprehension.
This book is considered International Literature. It was originally published in Germany and then the United Kingdom prior to its arrival in the United States. The story is laden with references and situations that only happen in a monarchy, for example, the king having a tournament to see who will marry the princess. However, these ideas are not unfamiliar to many children throughout the world. Despite some of these references that are predominantly part of European history, this story is not so specific that it cannot be translated into other languages and easily understood. It is international. It has international appeal. The characters in this story could be any ethnicity. Overcoming obstacles and becoming who one wants to be not who s/he is expected to be is an international theme. It is not confined to one set of borders. It spans the globe.
REVIEW EXCERPTS
From AMAZON.COM : “Funke does well in this picturebook format, but Kerstin Meyer's delicate and extremely cute illustrations set the quiet, measured (but still fun) tone of the Princess Knight, as she takes inspiration from a bona fide medieval piece of art--the 11th-century Bayeux Tapestry (Ages 4 to 8”) --Paul Hughes
PUBLISHER’S WEEKLY: Starred Review
BOOKLIST: Starred Review: “This jaunty parable offers children an endearing, indomitable character along with a lesson in girl power.”
CONNECTIONS
This website would be excellent for an author’s study.
The World of Cornelia Funke - Writer of children's books -> Overview
Read and discuss this book with other gentle feminist messages:
THE PAPER BAG PRINCESS by Robert Munsch
THE KING’S EQUAL by Katherine Paterson
Students would read a traditional “princess” fairy tale. After reading THE PRINCESS KNIGHT, students would compare and contrast the two tales. They would rewrite the traditional tale, giving it a “girl-power” twist and rewrite THE PRINCESS KNIGHT making it reflect the actions in less feminist princess fairy tales.
LS 5653: MODULE 1: THE THIEF LORD
BIBLIOGRAPHY
Funke, Cornelia. 2000. The Thief Lord. Illus. by author. Hamburg, Germany: Cecilie Dressler Verlag. ISBN: 0-439-40437-1
Funke, Cornelia. 2002. The Thief Lord. Illus. by author. New York: Chicken House. ISBN: 0-439-40437-1
PLOT SUMMARY
Running from an unpleasant family situation, Prosper and Bo are a pair of young orphans who are living with a band of thieves in Venice. The leader of this group, known as the Thief Lord, strays from the group’s usual thievery and accepts an unusual assignment from a wealthy client. Soon, the adventure begins. While preparing for this new assignment, Prosper and Bo are located by private detective who wants to return them to their family. The group learns a great many secrets about their beloved leader and become increasingly entrenched in and mystified by their new assignment. The course of events that follow the fateful night they commit their final burglary is a roller coaster of emotions and unexpected twists. A magical merry go round, a generous benefactor, and experiences that cause all of the characters to grow and evaluate themselves draw all of the seemingly disjointed events of the story together.
CRITICAL ANALYSIS
Often adolescents desire to live without the “interference” of adults. Initially, it seems that THE THIEF LORD is going to indulge this fantasy. Set in Venice, Italy, Hornet, Bo, Prosper, Riccio, and Mosca are young people who have run away from home and are surviving by stealing and selling products. They live in an abandon movie theater. Their leader, Scipio the Thief Lord, breezes in and out of the theater mysteriously.
The first third of the book introduces develops the characters as well as establishes background information for the reader. Ms. Funke uses dialogue and actions to create credible characters. They have strengths and weaknesses, and the reader sees both the good and bad. For example, when Prosper thinks that he has lost Bo forever, he does not react in a rational manner. He is impulsive and lost in sorrow. This mood leads to an outcome that alters the remainder of the story. Yet, based on what the readers have already learned about Prosper, these events are realistic and plausible.
As the story continues, characterization yields to the storyline. The plot is a well-constructed and original series of events. The events happen rapidly and logically. Readers should be prepared for twists and unexpected revelations. Sprinkled within the text are simple black and white pencil sketch drawings. These illustrations assist the reader with developing a mental image and a framework for the events that unfold. As the book continues, it is realized quickly that things are rarely as they seem.
Readers could extract several themes from this story. Ms. Funke cleverly intertwines events, characters, and ideas into a cohesive tale that is open to many interpretations. The need for trustworthy friends; the importance of examining one’s actions and the repercussions; and the value of age, maturation, and experience are all themes that could be extracted from the story. One’s personal experience and current situation could influence the manner in which the story is interpreted.
THE THIEF LORD is classified as international literature. It has been published in several different countries. While the story is set in Italy, the characters and events could have existed anywhere. This lends to the story’s international appeal. It does not only appeal to one group. Gender, age, and ethnic stereotypes are avoided. In fact, the cultural background of the characters is secondary to the personality traits and the action.
Since Ms. Funke did set this story in Italy, she does use this opportunity to build awareness of the Italian language and of Italian landmarks. At the close of the book, there is an Italian vocabulary dictionary for readers. Most of the Italian words referenced in the text are defined. Readers’ lack of prior knowledge is not a hindrance to comprehending the story. She does avoid stereotypically Italian elements. No one in the story eats spaghetti, and there are no gangsters or Mafia-type individuals.
Readers can enjoy the story without being saturated with stereotype or moralizing dialogue. THE THIEF LORD is a fast paced, spellbinding novel.
REVIEW EXCERPTS
Batchelder Award 2003
Children’s Book Award from the Vienna House of Literature 2001
Winner of Zurich Children’s Book Award 2000
From SCHOOL LIBRARY JOURNAL: “Funke delineates her characters and the changing textures of their relationships with masterful subtlety, as well as sometimes-puckish humor. It's a compelling tale, rich in ingenious twists, with a setting and cast that will linger in readers' memories.”-- By John Peters, New York Public Library.
CONNECTIONS
This is a fan created website with games and activities.
www.CorneliaFunkeFans.com - The Official Cornelia Funke Web site.
This is an online literature unit for THE THIEF LORD.
The Thief Lord Literature Unit - activities, vocabulary, quizzes, and more
This is another website of activities and lessons.
Suite101: Homeschooling articles
This website is movie information about THE THIEF LORD, released in 2006.
The Thief Lord (2006)
YouTube - Thief Lord Trailer (Movie trailer)
After reading the book, students will write a review of the book. A sample review is provided. Kidsreads.com - THE THIEF LORD by Cornelia Funke
Once this has been completed, students will watch the movie and compare and contrast the two presentations.
Funke, Cornelia. 2000. The Thief Lord. Illus. by author. Hamburg, Germany: Cecilie Dressler Verlag. ISBN: 0-439-40437-1
Funke, Cornelia. 2002. The Thief Lord. Illus. by author. New York: Chicken House. ISBN: 0-439-40437-1
PLOT SUMMARY
Running from an unpleasant family situation, Prosper and Bo are a pair of young orphans who are living with a band of thieves in Venice. The leader of this group, known as the Thief Lord, strays from the group’s usual thievery and accepts an unusual assignment from a wealthy client. Soon, the adventure begins. While preparing for this new assignment, Prosper and Bo are located by private detective who wants to return them to their family. The group learns a great many secrets about their beloved leader and become increasingly entrenched in and mystified by their new assignment. The course of events that follow the fateful night they commit their final burglary is a roller coaster of emotions and unexpected twists. A magical merry go round, a generous benefactor, and experiences that cause all of the characters to grow and evaluate themselves draw all of the seemingly disjointed events of the story together.
CRITICAL ANALYSIS
Often adolescents desire to live without the “interference” of adults. Initially, it seems that THE THIEF LORD is going to indulge this fantasy. Set in Venice, Italy, Hornet, Bo, Prosper, Riccio, and Mosca are young people who have run away from home and are surviving by stealing and selling products. They live in an abandon movie theater. Their leader, Scipio the Thief Lord, breezes in and out of the theater mysteriously.
The first third of the book introduces develops the characters as well as establishes background information for the reader. Ms. Funke uses dialogue and actions to create credible characters. They have strengths and weaknesses, and the reader sees both the good and bad. For example, when Prosper thinks that he has lost Bo forever, he does not react in a rational manner. He is impulsive and lost in sorrow. This mood leads to an outcome that alters the remainder of the story. Yet, based on what the readers have already learned about Prosper, these events are realistic and plausible.
As the story continues, characterization yields to the storyline. The plot is a well-constructed and original series of events. The events happen rapidly and logically. Readers should be prepared for twists and unexpected revelations. Sprinkled within the text are simple black and white pencil sketch drawings. These illustrations assist the reader with developing a mental image and a framework for the events that unfold. As the book continues, it is realized quickly that things are rarely as they seem.
Readers could extract several themes from this story. Ms. Funke cleverly intertwines events, characters, and ideas into a cohesive tale that is open to many interpretations. The need for trustworthy friends; the importance of examining one’s actions and the repercussions; and the value of age, maturation, and experience are all themes that could be extracted from the story. One’s personal experience and current situation could influence the manner in which the story is interpreted.
THE THIEF LORD is classified as international literature. It has been published in several different countries. While the story is set in Italy, the characters and events could have existed anywhere. This lends to the story’s international appeal. It does not only appeal to one group. Gender, age, and ethnic stereotypes are avoided. In fact, the cultural background of the characters is secondary to the personality traits and the action.
Since Ms. Funke did set this story in Italy, she does use this opportunity to build awareness of the Italian language and of Italian landmarks. At the close of the book, there is an Italian vocabulary dictionary for readers. Most of the Italian words referenced in the text are defined. Readers’ lack of prior knowledge is not a hindrance to comprehending the story. She does avoid stereotypically Italian elements. No one in the story eats spaghetti, and there are no gangsters or Mafia-type individuals.
Readers can enjoy the story without being saturated with stereotype or moralizing dialogue. THE THIEF LORD is a fast paced, spellbinding novel.
REVIEW EXCERPTS
Batchelder Award 2003
Children’s Book Award from the Vienna House of Literature 2001
Winner of Zurich Children’s Book Award 2000
From SCHOOL LIBRARY JOURNAL: “Funke delineates her characters and the changing textures of their relationships with masterful subtlety, as well as sometimes-puckish humor. It's a compelling tale, rich in ingenious twists, with a setting and cast that will linger in readers' memories.”-- By John Peters, New York Public Library.
CONNECTIONS
This is a fan created website with games and activities.
www.CorneliaFunkeFans.com - The Official Cornelia Funke Web site.
This is an online literature unit for THE THIEF LORD.
The Thief Lord Literature Unit - activities, vocabulary, quizzes, and more
This is another website of activities and lessons.
Suite101: Homeschooling articles
This website is movie information about THE THIEF LORD, released in 2006.
The Thief Lord (2006)
YouTube - Thief Lord Trailer (Movie trailer)
After reading the book, students will write a review of the book. A sample review is provided. Kidsreads.com - THE THIEF LORD by Cornelia Funke
Once this has been completed, students will watch the movie and compare and contrast the two presentations.
Subscribe to:
Posts (Atom)