Book Review #18: A Michael Printz YA Award Winner

1. For our eighteenth (and final) assignment, I chose to review this Michael Printz YA Award Winner:

(Book Cover Source: http://www.worldcat.org/oclc/50810558&referer=brief_results, accessed November 30, 2008)

BIBLIOGRAPHY:
Johnson, Angela. 2003. The first part last. New York: Simon & Schuster Books for Young Readers. ISBN 0689849222

2. PLOT SUMMARY:
The First Part Last is a contemporary realistic fiction tale, narrated by sixteen-year-0ld Bobby, an urban youth faced with deciding whether to keep and raise the child with which his girlfriend is pregnant, or whether to give the baby up for adoption. Told in chapters that alternate between "Now" and "Then," the story unfolds in reverse. Beginning with a description of Bobby's intense devotion to his 11-day-old daughter, Feather, we eventually learn how he has come to be raising her with minimal assistance from his family, and why his girlfriend Nia is no longer involved in raising her. The title is explained in one of Bobby's many musings about the world when he says, "But I figure if the world were really right, humans would live life backward and do the first part last. They'd be all knowing in the beginning and innocent in the end." With no sugarcoating, the story describes Bobby's struggle to balance his overwhelming responsibilities for his baby daughter, with school, his friendships, his role in his family - and without losing his sense of self. It also offers intriguing observations about the personalities who surround him - his mother, father, and stepfather, his girlfriend Nia, his friends K-Boy and J.L. and his older brother Paul. Exemplifying the "realism" in realistic fiction, this story offers a window into the challenges teen pregnancy brings into lives.

3. CRITICAL ANALYSIS:
In addition to winning the 2004 Michael L. Printz Award for Young Adult Literature, Angela Johnson also won the 2004 Corretta Scott King Award for African American Literature for The First Part Last. Upon reading this absorbing tale, one understands why it is so admired. From the vivid characterizations, to the moving themes, to the author's voice, to the intriguing way the plot unfolds, this story grabs the reader and doesn't let go.

While one might question how many of us could identify with a young urban male, the breathtaking vulnerability and candor with which Johnson portrays Bobby leaps straight from the page and into the heart of the lost child within all of us who still needs mothering. "This little thing with the perfect face and hands doing nothing but counting on me. And me wanting nothing else but to run crying into my own mom's room . . ." His love for his daughter, Feather, is almost visceral. "I lay her on my stomach and breathed her in." Bobby's wry observations about the characters who surround him use few words, yet paint insightful portraits. Though a supporting cast, they offer many of the deepest lessons of the story.

Regarding the themes of the story, it would be easy to lapse into moralizing. However, Johnson never sinks to this. Many of the lessons are offered in humorous, self-deprecating ways, as when his girlfriend tells him they should use common sense and Bobby muses, "I figure we hadn't used too much common sense lately, or she wouldn't be pregnant." Other lessons are more subtle. Regarding his mother's emphatic stance that Bobby must take full responsibility for parenting, rather than preachy speeches, Bobby simply describes his mother's actions, "She only ever changed, fed, or rocked Feather to sleep when I didn't need her help." He also says she keeps her bedroom door shut tight, "so she wouldn't be tempted to do what most grandmothers would do. Take over."

Had the plot been told in a conventional, chronological way, it might not have been nearly as enthralling. Plopped right into the middle of the love and exhaustion, the reader forges a rather immediate connection with Bobby. Thus, as the tale unfolds, and we ultimately learn what has happened to Nia, and why he has chosen to keep Feather, we are with him all the way.

Johnson's evocative language is a pleasure to read. "Put that baby down, Bobby. I swear she's going to think the whole world is your face. She's going to be scared out of her mind when she turns about six and you haven't put her down long enough to see any of it." In describing his parents reaction to news of the pregnancy, Bobby muses, "Fred and Mary sat real still, and for awhile, I thought what I just told them about Nia being pregnant had turned both of them to stone. It had been a long time since either of them ever agreed on anything." Metaphors abound, as in an entire chapter that consists of an urban fairy tale Bobby spins of a good day with his friends in the city. "No white horse here. Got a pass for the subway though . . . More damsels for some than others."

If believability is the "hallmark of contemporary realism" (Vardell, 2008), Johnson achieves this through her style and characterizations throughout the tale. However, the only weakness in this otherwise compelling story involves two plot twists that ultimately compromise believability on two fronts. Learning that Nia is in a "persistent vegetative state" due to eclampsia stretches credibility. The odds of this actually happening are rather small. Was it meant as a not-so-subtle warning to teenagers about the perils of pregnancy, or just a convenient way for Bobby to end up with Feather? Either way, it doesn't ring true to real life. A second plot twist, though not quite as unbelievable, is when Bobby decides to uproot himself and Feather and leave his beloved New York City for a small town in Ohio where his brother Paul lives. Although he has discussed his connection to his brother and desire for a good life for his daughter, it seems unlikely that he would leave behind his support network of family and friends - and Nia and her family - to go to a small town far away.

These minor complaints aside, overall this is a powerful, poignant tale of heartache and hope. The chapters describing the sleepless exhaustion of caring for an infant and trying to attend high school at the same time should (dare I say it?) be required reading for adolescents.

4. REVIEW EXCERPTS:
Booklist: "Johnson makes poetry with the simplest words in short, spare sentences that teens will read again and again."
Christian Science Monitor: The book's spare, lyrical writing sings with Bobby's feelings for his daughter . . . Johnson, a three-time Coretta Scott King Award-winner, has made something wonderful in Bobby's singular voice."
School Library Journal: "Poetic, and absolutely riveting, this gem of a novel tells the story of a young father struggling to raise an infant."

5. CONNECTIONS:
Like many books of the contemporary realistic fiction genre, The First Part Last might raise controversy because of candid discussion of topics like condoms and dialogue that includes words like s--t and f--k. Thus, a librarian or teacher would need to be very familiar with campus collection policies and books suitable for class novels prior to purchasing or recommending it. That said, this title is thought-provoking and educational in the way it portrays the hardships of caring for an infant.
*It might be an excellent way to launch a discussion in conjunction with presentations about sex education.
*It would be an excellent source for writing assignments about values, persuasion, or roles.
**If a student or teacher were looking for other titles by Angela Johnson, they could be directed to the following:
Johnson, Angela. Bird. ISBN 0142405442
Johnson, Angela. Heaven. ISBN 0689822901
Johnson, Angela. Looking for Red. ISBN 0689863888
*Finally, for those looking to read more about teen pregnancy, recommended titles might include:
Baratz-Logstead. Angel's choice. ISBN 1416925244
Hornby, Nick. Slam. ISBN 0399250484
Wild, Margaret. One night. ISBN 0553494341

Book Review #17: A Newbery Award Winner/Honor Book

1. For our seventeenth assignment, I chose to review this Newbery Award Winner:


(Book Cover Source: http://www.worldcat.org/oclc/50693525&referer=brief_results, accessed November 22, 2008)

BIBLIOGRAPHY:
DiCamillo, Kate. 2003. The tale of Despereaux: being the story of a mouse, a princess, some soup and a spool of thread. Ill. by Timothy Basil Ering. Cambridge: Candlewick Press. ISBN 0763617229

2. PLOT SUMMARY:
Winner of the 2004 Newbery Award, Kate DiCamillo's The Tale of Despereaux is a fantasy, told in four "books." "Book The First: A Mouse Is Born," begins with the birth of the main hero, Despereaux, a mouse who is different from the other mice. This unusually small mouse with enormous ears lives with his family in the castle of the king. Although his siblings try to educate him in the ways of being a mouse, he is drawn to beautiful things like stained glass, fairy tales, music, and most of all, the king's daughter Princess Pea. Banished to the dungeon for breaking the mouse society rules, Despereaux must descend into the darkness where the deadly rats live.

"Book The Second: Chiaroscuro" introduces one of the dungeon rats, of whom the author tells us his name means "darkness and light together." Another misfit among his peers, Roscuro loves the light and, like Despereaux, is drawn to where he shouldn't go. He ultimately ends up in the queen's soup causing the queen to die of shock. When Roscuro sees the princess glaring at him with disgust and anger, it breaks his heart, sowing the seeds for Roscuro's plans for vengeance against the princess.

"Book The Third: Gor! The Tale of Miggery Sow" introduces a young peasant girl who was sold by her father into servitude. She has been clouted so many times by her owner, she has lost most of her hearing and her ears look like cauliflowers. Rather slow-witted, she dreams of becoming a princess. Through the course of events, she ends up working as a servant at the castle, where Roscuro convinces her to be part of his plot to kidnap the princess and take her to the dungeon.

"Book The Fourth: Recalled To The Light" brings all of these characters together in a dramatic finish. Despereaux, having heard Roscuro describe his plans, realizes he is the only one who can save the princess. He descends once more into the dungeon with a needle as his sword, and rescues the princess. The story ends mostly happily. Illustrating the lesson of forgiveness, the princess, "to save her own heart," extends forgiveness to Roscuro. In turn, he reunites Miggery with her repentant father, who treats her like a princess for the rest of her days. As for Despereaux, the author writes, "Did he live happily after? Well, he did not marry the princess, if that is what you mean by happily ever after. Even in a world as strange as this one, a mouse and a princess cannot marry. But reader, they can be friends. And they were. Together they had many adventures."

The story closes with a "Coda" from the author. In it, she harkens back to Despereaux whispering a story into the jailer's ear, to save them from the darkness. She reminds us of the jailer saying, "Stories are light," and concludes by saying, "Reader, I hope you have found some light here."

3. CRITICAL ANALYSIS:
Having won the Newbery Award and glowing reviews from renowned sources, it would be easy to chime in and rave about The Tale of Despereaux along with everyone else. However, in a departure from the norm (and my usual style of leaving my personal reaction to the end of the review), I am going to begin by saying that I thoroughly disliked this book for three main reasons.

First, is the style in which DiCamillo has written the tale. While other reviewers have praised it as intimate, and as a return to literary traditions of old, I found it to be intrusive, patronizing, and annoying. I imagine I am not alone in wishing to be swept away by the reading experience, immersing myself in a fantasy world. Thus, to be interrupted and told what to think is irritating, as when DiCamillo writes, "Reader, you may ask this question; in fact you must ask this question: Is it ridiculous for a very small, sickly big-eared mouse to fall in love with a beautiful human princess named Pea? The answer is . . . yes. Of course, it's ridiculous." At other times, the author becomes even more directive, as when she writes, "Close your eyes, please, and consider it for just a moment. Done? I hope that the hair on the back of your neck stood up as you thought of Mig's fate and how it would be if it were your own. Poor Mig. What will become of her? You must, frightened though you may be, read on and see for yourself. Reader, it is your duty." Each time DiCamillo interrupts the narrative in this way, I feel jerked out of the story and annoyed by the patronizing tone. I also prefer to do my own thinking.

The second criticism is the depiction of the characters in the story. Not only are all of them portrayed in shallow ways, there are rampant stereotypes throughout the story. A French or Italian reader might be thoroughly offended, along with anyone who abhors casting slow-witted people as lazy and greedy. Despereaux's French mother, Antoinette, is depicted as shallow, self-absorbed, and unloving. When told at Despereaux's birth that he was the only one of his litter to be born alive, she exclaims, "All of that work for nothing . . . It is such the disappointment." When Despereaux is being condemned by the mouse tribunal, he easily spots his mother in the crowd because, "In honor of her youngest mouse being sent to the dungeon, she had put on a tremendous amount of makeup." As for the Italian slurs, the rats have all been given Italian names like Botticelli and Roscuro. They are described by others as "filthy," "black-souled," and "evil." In describing themselves, Botticelli states, "Reducing a prisoner to weeping and wailing and begging is a delightful way to invest your existence with meaning." Although Roscuro eventually redeems himself to some extent, the overall impression of Italians with which the reader is left is still very negative. As for Miggery Sow's character, DiCamillo tells us, "Reader, as the teller of this tale, it is my duty from time to time to utter some hard and rather disagreeable truths." She describes how large Mig becomes from overeating, her laziness and slow-wittedness, and follows this with examples of the mistakes she makes as a servant. Her difficulty in hearing (brought on by constant abuse in her childhood) is repeatedly the source of jests. This portrayal of a child with special needs is extremely offensive. As for Despereaux and Roscuro, while one can relate to their appreciation of light and beauty, it is difficult to relate to anything else about them. Perhaps it is because rather than drawing out their character development, the author has instead chosen to quickly and repeatedly tell us what to think about them. This is no substitution for authentic character development.

The third criticism of the story is the darkness of the tone. The typical fairy tale themes of quests, heroism, and love are not enough to override the darkness. DiCamillo actually addresses this, telling the reader, "The story is not a pretty one. There is violence in it. And cruelty. But stories that are not pretty have a certain value, too . . . Everything, cannot always be sweetness and light." Still, when one considers this story is aimed at children, and it is full of parents who betray their offspring in direct and indirect ways, the celebration of malevolent intentions by the rats, and violence (as when Despereaux's tale is chopped off), it is rough going, indeed. Ering's pencil illustrations do little to lighten this tone. Aside from the clever use of light and dark, which reflects the chiaroscuro theme of the tale, the images are unappealing and scary. In particular, Gregory and the rats are drawn in ways that emphasize their repulsiveness, with awful teeth and squinting eyes.

These major complaints aside, there are some minor pleasures in reading the book. DiCamillo's writing is rich with metaphors and imagery, as when she writes, "And so he was reading the story as if it were a spell and the words of it, spoken aloud, could make magic happen." Another example is when she writes, "His own brother was delivering him to the dungeon. His heart stopped beating and shrunk to a small, cold, disbelieving pebble." Often, the writing has a poetic lilt, making it a pleasure to read aloud, as when she writes, "The minstrels were strumming and singing. The people were laughing and eating. The man with the jingle cap was juggling and jingling." On the other hand, the language, though poetic, can also be a bit lofty for children, as when she uses words like "chiaroscuro" and writes dialogue like, "Am I right in ascertaining that you have aspirations?"

Another strength is the way the author uses foreshadowing to engage the reader and build suspense throughout the book. For example, early on, DiCamillo writes, "Despereaux did not know it, but he would need, very soon, to be brave himself. Have I mentioned that beneath the castle there was a dungeon? In the dungeon, there were rats. Large rats. Mean rats. Despereaux was destined to meet those rats. Reader, you must know that an interesting fate (sometimes involving rats, sometimes not) awaits almost everyone, mouse or man, who does not conform." Another example is when DiCamillo introduces Miggery Sow and writes, "And though she did not yet know it, she would be instrumental in helping the rat work his revenge."

A final strength is the way in which DiCamillo has described the setting. The dark, foul dungeon teeming with rats, the castle filled with music and light, and the warm, comforting taste of soup are all evocatively rendered with DiCamillo's vivid prose. These are the images that stay with the reader long after the story is finished.

4. REVIEW EXCERPTS:
Booklist: "And as with the best stories, there are important messages tucked in here and there, so subtly that children who are carried away by the words won't realize they have been uplifted until much later."
Bulletin of the Center for Children's Books: "There is a classic charm to this picaresque tale of an idealistic mouse suffering unrequited love for a princess; that and a pace that lends itself to reading aloud will make this novel a favorite among those ready for some gentle questing."
Christian Science Monitor: "There's a literal and figurative gloom here, but the light of humor, hope, redemption, and forgiveness wins out. This is a novel about the weight of words and the power of a story to shape a life - or even transform it."
School Library Journal: "With a masterful hand, DiCamillo weaves four story lines together in a witty, suspenseful narrative that begs to be read aloud . . . This expanded fairy tale is entertaining, heartening, and above all, great fun."

5. CONNECTIONS:
*As many reviewers have commented, this story would make an excellent read aloud. The author even pauses and asks the reader to say words aloud, as when she writes, "Quest. Say it, reader. Say the word "quest" out loud. It is an extraordinary word, isn't it? So small and yet so full of wonder, so full of hope." One can picture an entire classroom of children saying the word "quest" in unison. One would hope that in discussing the story with the class at large, teachers would address some of the negative aspects like stereotyping. After reading aloud from the story, it could also be an excellent source for class writing assignments. Themes such as courage, heroism, and forgiveness would make excellent topics.
*If a reader or teacher were looking for another story by Kate DiCamillo to read for pleasure or in order to make comparisons, the following is a wonderful tale:
DiCamillo, Kate. The miraculous journey of Edward Tulane. ISBN 0763639877.
While I was rather negative about The Tale of Despereaux, I actually chose it from the list because I was so touched when I read The Miraculous Journey of Edward Tulane, it made me weep. I was hoping for a similar experience with The Tale of Despereaux, but alas, did not find the light DiCamillo was hoping I would find. The Miraculous Journey of Eward Tulane is a much shorter book, but Edward's character and transformation are much more developed. I would highly recommend it.

Book Review #16: One Title From A Specified Fantasy Series

1. For our sixteenth assignment, I chose to review this title from a specified fantasy series:


(Book Cover Source: http://www.worldcat.org/oclc/37588395&referer=brief_results, accessed November 15, 2008)

BIBLIOGRAPHY:
Haddix, Margaret Peterson. 1998. Among the hidden. New York: Aladdin Paperbacks. ISBN 0689817002

2. PLOT SUMMARY:
An ALA Best Book for Young Adults, Among The Hidden is the first of seven novels in Margaret Peterson Haddix's Shadow Children series. A futuristic fantasy, it is the story of Luke Garner, a 12-year-old boy born in a time when overpopulation and a famine have led to a totalitarian state, which includes the Population Police. Their job is to enforce the strict policy of two children per family. Luke is an illegal "third" child, hidden away on his family's farm, never having met anyone besides his parents and two older brothers. This changes when the woods surrounding the farm are replaced by homes for the privileged "Baron" families, and Luke must remain totally hidden in the attic of his home. Luke's only view of the outside world is through the slats of a vent in the attic. Desperate for diversion, he spends hours watching the comings and goings of the neighboring families.

Then, one day, Luke sees another child's face in the window of the home next door. He realizes it must be another third child. Eventually, he works up the courage to sneak over and break in through their screen door. He meets Jen, a spirited girl who exposes Luke to a wide range of things - from forbidden junk food, to the Internet, to government and counter-
government propaganda, to her rebellious plan to stage a rally in front of the President's house, demanding rights for third children, or "shadow children" as she calls them. In learning that there are thousands of shadow children, Luke is intrigued, but terrified of Jen's plan and ultimately tells her he cannot go with her. This creates a breach in their friendship, which is healed by Jen in a brief visit before she departs for the rally.

The next day, Luke tries in vein to learn the outcome of the rally, but fails. As days go by, and he sees no sign of Jen, he decides to break into her house. Discovered by Jen's stepfather, Luke learns that Jen and the 39 other shadow children who staged the rally were shot down and killed. He also learns that Jen's stepfather is a mole, working for the Population Police. He hides Luke when they come to investigate, and ultimately offers him a fake identity, so he can escape detection. The story concludes with Luke (now called Lee Grant), being driven by Jen's stepfather to his new life at a boarding school. He has vowed, "I want to do something with my life. Figure out ways to help other third kids . . . Make a difference in the world."

3. CRITICAL ANALYSIS:
From the opening scene in which Haddix deftly introduces Luke's conflicting feelings of fear of discovery and longing for freedom, to the closing scene which embodies the same feelings, now joined by a need to "Make a difference in the world," Among the Hidden grips the reader and doesn't let go. The premise itself is fascinating (and not all that outlandish given China's current policies) and Haddix uses plot devices to move the story along. For example, she often ends chapters with a cliffhanger. Examples include, "Turn around slowly. I have a gun. Who are you and why are you here?" and "Open Up! Population Police!" Heavy use of foreshadowing helps to move the plot along as well. Several chapters end in this way, a single sentence suspended at the bottom of the page, like, "Until they took the woods away," and "But April came before planting season," hinting at drama to come.

One of the most intriguing aspects of the story is the setting itself. It is a world in the not-too-distant future, where the totalitarian Government controls decisions like what farmers and factories can produce, as well as how many offspring families may bear. From Luke's contemplations of his family's circumstances, to Jen's tutorials about the Government's role in regulating everything from junk food to the media, we gain a growing distaste for the strictures of this world, and an appreciation for our own. The juxtaposition of the enforced poverty of farmers, with the extravagant privileges of the Barons, is brought to life by Haddix's evocative descriptions. An example is when Luke first steps into Jen's home. Haddix writes, "At his house, even the once-orangish couch and the once-greenish chairs were now all a matching sort of brownish gray. This room was different. It reminded him of a word he'd never heard, only read: "pristine." Nobody had ever stepped on these white rugs with manure-covered boots. Nobody had ever sat on those pale blue couches with corn-dust-covered jeans." These descriptions are absorbing enough, that they maintain the readers interest in places where the plot might otherwise drag a bit.

Characterizations are vivid, but somewhat one dimensional (with the exception of Luke and that of Jen's stepfather). Luke's father is gruff and critical, his mother loving, but overwhelmed. Jen's mother is shallow and self-absorbed, as when Jen explains, "There you have it, my mother's priorities. Shopping is more important than my life." The Government is repeatedly portrayed in negative ways. Phrases like, "The Government's incompetent and stupid," and "Government leaders are the worst ones for breaking laws," and "Maybe a Government worker with half a brain will see it and actually think for the first time this decade," abound.

Themes are universal, making the story appealing to readers. Quests for freedom, good versus evil, and self-determination are issues with which readers can empathize. Thematic messages are made fairly obvious through description and dialogue. For example, when Luke asks Jen what the password is for the shadow children's chat room, her reply is, "It's 'free.' "

In terms of style, Haddix is often a spare writer, conveying a lot of meaning in brief descriptions, as when she writes, "They had defied the Government once, with Luke. That had taken all the defiance they had in them. Maybe more." She relies a bit on stereotypes in her portrayals, especially with Luke's father. Depicting him as an uneducated farmer who can barely understand letters from the government, his dialogue includes lines like, "Farming don't make nobody a millionaire." In another scene he is described in this way: "Only after his last belch did he turn the envelope over and run a dirt-rimmed fingernail under the flap." Occasionally, Haddix uses similes and metaphors to enhance descriptions, as when she writes, "Luke suddenly felt like the radio was as loud as an entire orchestra, like the smell of baking bread could fill three counties." However, most of the time, her style is rather plain.

While the premise of the book is thought-provoking, a weakness is the black and white way in which it is told. One wonders what impression a child might come away with when the Government is always portrayed as bad. Also, famine is not the only implication of overpopulation. While overpopulation is a genuine issue we face in our world and worthy of introduction to older children, it is dealt with in a fairly simplistic manner here.

On a personal note, I read Haddix's Running Out of Time several years ago and thought it was one of the most inventive, thought-provoking children's books I'd ever read. Thus, I purposefully chose the Shadow Children series because I wanted to read Haddix again. However, while I was caught up in the story, it was not nearly as compelling as Running Out of Time had been. I am a reader who enjoys rich, metaphorical language. The spare style and simplistic presentation of Among The Hidden was a letdown to me. However, my campus librarian says there is a waiting list for all the books in this series, so evidently elementary students are not so particular.

4. REVIEW EXCERPTS:
Kirkus Reviews: "A chilling and intelligent novel."
Publishers Weekly: "The plot development is sometimes implausible and the characterizations are a bit brittle, but the unsettling, thought-provoking premise should suffice to keep readers hooked."
School Library Journal: "An exciting and compelling story of one young person defying authority and the odds to make a difference. Readers will be captivated by Luke's predicament and his reactions to it."

5. CONNECTIONS:
*For individual readers, an obvious recommendation would be the six sequels to this book. They are (in order):
Haddix, Margaret Peterson. Among the imposters. ISBN 0689839049
Haddix, Margaret Peterson. Among the betrayed. ISBN 068983909
Haddix, Margaret Peterson. Among the barons. ISBN 0689839103
Haddix, Margaret Peterson. Among the brave. ISBN 0689857942
Haddix, Margaret Peterson. Among the enemy. ISBN 0689857977
Haddix, Margaret Peterson. Among the free. ISBN 0689857993
*Another excellent book by this author is the following:
Haddix, Margaret Peterson. Running out of time. ISBN 0689812361
*In a classroom setting with older students, this book might be used in conjunction with discussions about government and dystopian scenarios such as:
Orwell, George. 1984. ISBN 0452284236
Orwell, George. Animal Farm. ISBN 0451526341
*Finally, the themes of this book lend themselves to writing and discussion. It would be interesting to have students share their thoughts about freedom, sacrifice, self-determination, authority, corruption of power, and positives and negatives of government.

Book Review #15: A Scott O'Dell Award Winning Book

1. For our fifteenth assignment, I chose to review the following Scott O'Dell Award winning book:


(Book Cover Source: http://www.worldcat.org/oclc/43978047&referer=brief_results, accessed November 9, 2008)

BIBLIOGRAPHY:
Lisle, Janet Taylor. 2000. The art of keeping cool. New York: Atheneum Books for Young Readers. ISBN 9689837879

2. PLOT SUMMARY:
Winner of the 2001 Scott O'Dell Award, The Art of Keeping Cool is a WWII novel, told in first person narrative by 13-year-old Robert. The setting is a Rhode Island coastal town near a military installation, in the year 1942. The Germans have been torpedoing ships nearby, and tensions are high.

The story is a coming-of-age tale, revolving around Robert and his cousin Elliot, as they grapple with being forced to live in their belligerent grandfather's home, due to hardships in their families. While Robert is responsible and hardworking, Elliot is a talented artist who hides his ability, but feels compelled to pursue it, and avoids chores and school work as a result. As the plot progresses, two dark story lines unfold. One involves a famous, reclusive German painter who has fled the Nazis and wants to be left alone - other than tutoring Elliot in art. The townspeople are suspicious of the painter and ultimately, tragedy ensues.

The other story line involves Robert's efforts to understand why, at his grandfather's, there is no talk, nor any mementos of his father, who is training fighter pilots in England. Unable to keep up their farm in Ohio, Robert's mother has brought the family to stay in the cottage next to her husband's family in Rhode Island. Ultimately Robert learns from one of Elliot's drawings that Robert's father left and never returned after Robert's grandfather shot him during an argument. Thus, the grandfather's rages take on a whole new meaning when this is revealed. However, the incident is never discussed, and Robert is furious when he learns that his grandparents deny what happened and claim the gun accidentally went off. In a gripping scene where Robert is wrestling with his anger, he reflects, "I thought of what he'd done to my father, how he still hadn't owned up to it but went on hiding like a coward and bullying the people around him. It struck me how your enemy can be someone who lives close to you, where you're most vulnerable, not just on the other side of the ocean." These lines aptly summarize a main theme of the story.

Other themes include tolerance of family and strangers, building defenses against pain and fear, and gaining emotional and physical independence. The story is suspenseful, as subplots play out regarding whether the German painter is a spy, the arrival and firing of enormous guns at the fort, whether Robert's father survived being shot down, the growing anger of the townspeople toward the painter, and the truth about what happened between Robert's father and grandfather.

3. CRITICAL ANALYSIS
Lisle has written a haunting novel with characters that stay with the reader long after the book is finished. While most of us can easily connect with Robert's character, Lisle has surrounded him with characters that are not so easy to relate to. His cousin Elliot, his father who won't discuss his past, his belligerent grandfather, and Abel, the German painter, are all complex portraits for whom we slowly gain an understanding, though not necessarily a liking. However, Lisle's evocative descriptions help the reader overcome this. Of Elliot, she writes, "There are people in this world who are naturally open and easy to get to know, and there are difficult people, the ones who put up barricades and expect you to climb over them. Elliot Marks was the second kind of person." Of Abel, she writes, "Abel's face wore a dazed look, as if telling his story had made him live it again and he wasn't sure that this time he had come out alive."

Robert's "voice" as Lisle has written him, is particularly engaging. With humor and wry observations, she paints a likable, aware young man. Phrases like, "From the tone he used, I knew all I needed to know about those relatives in Rhode Island" and, "A few more conversations like this and you were ready to strangle him," reinforce our affection for Robert. His astuteness in navigating dangerous familial waters is also evident, as when he reflects, "I knew a rigged question when I heard one."

Lisle also writes deftly about human emotions and superstitions. Regarding the air-raid siren, she writes, "That didn't stop us from thinking about it the next night, though, or the night after that. You get the willies when you wake up to an alarm like that, even after you know it wasn't anything." Regarding Robert's superstition about the blue star his mother has placed in the window to honor his father's service, she writes, "I was afraid of his blue star from the moment I saw it . . . The thing was, that star made deadness seem too easy, a little matter of switching color while nobody was watching it. It seemed that, just by having it, my father was bound to be killed."

In terms of authenticity, the world of 1942 is not so different from our current times. However, details about rationing, covering windows, and air raids help create a sense of life during WWII. With the exception of Abel's character, the language patterns are indistinguishable from our own. To represent Abel's fledgling English, for example, Lisle writes, "So! You have bringing your cousin! At last! Vel-come! Please, I show you." This adds flavor to the story, without impeding comprehension.

The only times the story becomes a bit flat are when Lisle must further the plot by explaining events from the past and cannot do so through Robert's first-person narrative. One instance is the description of how Abel was persecuted by the Nazis in Germany. The other is when Robert pieces together what had happened after his grandfather shot his father.

Perhaps the reason this story stays with the reader is because most of the characters in it are so flawed. Elliot's passive strategy of letting their grandfather's wrath flow past him infuriates Robert, but he ultimately understands the danger in his father's (and his own) confrontational style. Early in the story, as Robert is describing the adult Elliot, he says, "But he's mastered the art of keeping cool and can put up a good defense." Perhaps a better title for this story might have been "The art of knowing when to leave." Ultimately, tragedy befalls characters who stay in unsafe situations, while inflaming those around them. As Robert says to Elliot, "You said it yourself, you have to know when to leave." In the end, Elliot and Robert are uninjured and thriving because they learned when to leave untenable situations.

On a personal note, I enjoyed this story for several reasons. I liked learning more about American life during WWII and expressionist painting. As a former psychotherapist, I particularly liked the psychological aspects Lisle brought to the story. I'm less sure that children would enjoy this tale. With its dark tone and so many unlikable characters, it's not exactly light reading. One annoyance was that the description on the book jacket had several exaggerated and misleading statements about the plot. This may lead to disappointment in readers who don't find those elements in the story.

4. REVIEW EXCERPTS:
Booklist: "Like Abel's expressionist art, Lisle's story shows and tells what's behind the appearances of things, the "hidden feelings and memories, terrors and passions . . . everyone knows but cannot speak about."
Horn Book Review: "Engrossing, challenging, and well paced, the novel holds up a mirror to society - for those who dare to look."
Publisher's Weekly: The intimate first-person narrative brings universal themes of prejudice and loss to a personal level."
School Library Journal: "A heartfelt story about family dynamics and the harmful power of prejudice and hatred."

5. CONNECTIONS:
Although Accelerated Reader places the difficulty level of this book at a 5.0, the subject matter is rather malevolent. A father shooting his own son in anger, the beatings and persecution of an artist by Nazis, and the artist's suicide/death as he is chased by an angry, bigoted crowd make for rather dark reading. That said, those interested in WWII or coming of age stories might find it particularly interesting. In addition to use with individual students, it might also be used:
* In conjunction with a history class studying World War II.
*In conjunction with a student's independent, in-depth study for a project on American life in WWII.
*In conjunction with a literature course studying historical fiction.
*If a student or teacher were looking for other historical titles by Janet Taylor Lisle, they could be directed to the following:
Lisle, Janet Taylor. Black duck. ISBN 0142409022
Lisle, Janet Taylor. Sirens and spies. ISBN 0689844573
*Finally, for those looking to read more about WWII, recommended titles might include:
Hughes, Dean. Soldier boys. ISBN 0689860218
Mazer, Harry. A boy at war: a novel of Pearl Harbor. ISBN 0689841604
Mazer, Harry. Boys don't run: a novel of the Pacific War. ISBN 1416933948

Book Review #14: A Classic Work of Historical Fiction

1. For our fourteenth assignment, I chose to review the following classic work of historical fiction:

(Book Cover Source: http://www.biblio.com/isbn/9780440495963.html, accessed November 8, 2008)

BIBLIOGRAPHY:
Speare, Elizabeth George. 1958. The witch of Blackbird Pond. New York: Dell Publishing. ISBN 0440495962

2. PLOT SUMMARY:
The Witch of Blackbird Pond, Elizabeth George Speare's second historical novel, was the 1959 winner of the Newbery Medal. Set in 1687, in the Puritan Connecticut Colony, it is the story of Katherine ("Kit") Tyler, a sixteen-year-old young woman, raised by her grandfather in Barbados, who must leave when he dies, to seek out relatives she has never met. The story opens as Kit is traveling by ship to Wethersfield, Connecticut where her relatives live. An impetuous young woman, Kit subsequently careens from one event to the next - leaping over the side of a boat to rescue a child's doll (incurring suspicion of witchcraft by her ability to swim), surprising her relatives who don't know she is coming, speaking her mind in a rigidly austere community, befriending a lonely, outcast, Quaker woman known as "The Witch of Blackbird Pond," continuing to visit the woman after being ordered not to do so, and secretly teaching a young girl to read - all of which ultimately lead to an accusation that she, herself, is a witch. A dramatic trial ensues, and Kit is eventually found innocent. In addition to the main plot, other subplots include courtships of Kit and her two cousins, Judith and Mercy, which illuminate values and rituals of the times, the conflict between colonists defending the Connecticut Charter and loyalists to King James, commentary about slavery, and commentary about religious beliefs, including Puritan, Quaker, and more traditional beliefs. Many of the customs and day-to-day activities of the times are described, including medical remedies. The juxtaposition of Kit's memories of her wealthy, independent childhood in sunny Barbados with her new, harsh circumstances in Connecticut, both physically and emotionally, are particularly well-described. Ultimately, through the culmination of these experiences, Kit learns valuable lessons about tolerance, loyalty, love, and self-determination. The story concludes with her happy anticipation of marriage to Nat Eaton, a young sea captain who first transported her to Connecticut on his father's ship. She looks forward to the best of both worlds: visits to her beloved Barbados, and a home with roots in the community among people she has grown to love.

Following the conclusion of the story is an Author's Note, in which Speare delineated which parts of the book were fictitious, and which actually existed. Interestingly, the setting of the Great Meadows still existed at the time Speare wrote the Note. While Kit and her family were fictitious, several male characters mentioned in the story were actual historical figures, including the Royal Governor, Sir Edmond Andros, Captain Samuel Talcott the magistrate, and Reverend Gersholm Bulkeley..

3. CRITICAL ANALYSIS
Although it was published fifty years ago, The Witch of Blackbird Pond has not faded into obscurity. This is partly due to its Newbery Award status, but mostly because the issues it explores continue to be freshly relevant in our modern times. These issues include tolerance of cultural and religious differences, women's role in society, and the importance of education, freedom, and justice. In addition, its historical focus on colonial events and issues like slavery make it a useful educational tool. A quick search on the Internet yields countless schools using it in conjunction with their curricula.

More specifically, Speare's detailed descriptions of the setting and customs of 17th Century Connecticut bring them to life for the reader. Although the story is laced with descriptions of activities like candle-making, a husking bee, and Sunday Meetings, they never bog down the flow of the plot.

Characters are complex and well-developed - gray, rather than merely black or white. Much of the book finds Kit reflecting upon their contradictory behavior to discern how she really feels about them. Kit also spends quite a bit of time reflecting upon her own behavior - usually ruing her impulsive decisions. Examples abound, as when Speare writes, "Her high spirits plunged. She had made herself ridiculous. How many times had her grandfather cautioned her to think before she flew off the handle?" However, modern readers will most likely feel sympathy toward Kit's struggle to live under the restraints of the stern, Puritan lifestyle. Speare's tone is sympathetic, as when she writes of Kit's first day with her new family, "Father has no intention of sending you back. You will just have to prove to him that you can be useful here. By the end of that first day the word useful had taken on an alarming meaning. Work in that household never ceased, and it called for skill and patience, qualities Kit did not seem to possess." Speare also writes with humor and affection for Kit, as when she notes, "If only patience were contagious like mumps" and "Between trying to hold up her head confidently and at the same time find a place to set down her dainty kid shoes between the slimy ruts and the mud puddles, Kit had all she could tend to."

Speare's vivid use of metaphor and simile make the story a pleasure to read, as when she writes, "The cold measured words fell like so many stones into the quiet room" and "The one small room the house contained was scoured as a sea shell." Other examples include, "The evidence rolled against her like a dark wave" and "She snatched at the dream that had comforted her for so long. It was faded and thin, like a letter too often read."

Speare also uses foreshadowing to good affect, to heighten suspense throughout the book. For example, she writes, "Kit would remember many times the picture she carried with her along the darkening road. Was there some premonition, she would wonder, that made that moment so poignant, some foreknowledge that this was the last afternoon the three would ever spend together in the small cottage?"

Because of the era when the book was written, one weakness is the way in which minorities are depicted. Native Americans are never shown in positive ways, but rather as enemies who scalp their victims. They are often referred to as "savages," as when Speare describes Kit's journey to rescue Hannah as "skirting the square, darting from tree to tree like a savage, she made her way down Broad Street." When Kit is describing how she paid for her passage to Connecticut, she says, "To pay my way on the ship I had to sell my own Negro girl." While this reflects the lack of sensitivity still prominent in the 1950s, it would be important to explain to students the context in which these statements were written, as well as the more respectful views held today.

While historical details appear to be well-researched, authenticity with respect to dialogue appears to be less true to the time period. With the exception of Hannah's character, the speech in the book is very similar to our modern dialect. This is an era where the language is more similar to Shakespeare's than our own. Anyone who has read historical documents from revolutionary America knows that speech patterns differed from ours. While Speare has thrown in an occasional "'Tis," for the most part, the dialogue could be from 1950's America. Hannah's speech is sprinkled with "thee" and "thy," but otherwise, also resembles modern English. Knowing she was writing for children, Speare may have made this compromise in order to ease comprehension and make the work more accessible to her readers.

On a personal note, I thoroughly enjoyed the book. The extensive historical details were fascinating, and the complex characters were intriguing. Kit's gruff, but caring, Uncle Matthew was a favorite, and watching Kit's character mature and grow was very satisfying. The plot is suspenseful, and the themes are universal.

The only thing I don't care for about the book is the lack of background information regarding the Puritan and Quaker religions. If one knows nothing about the context from which they arose, it is easy to view them in a negative light as they are portrayed in this story. The austere Puritan lifestyle will seem needlessly harsh to modern readers. Hannah's branding and banishment makes it seem like Quakers must be truly awful people. Although Kit befriends her and demonstrates tolerance, I wish Speare would have included a brief explanation that would let young readers know that Quakers were/are not agents of the devil. While I would definitely recommend this book to modern readers, I would hope there would be an opportunity to discuss the missing background information, too.

4. REVIEW EXCERPTS:
Booklist: "Strong plot, fully-realized characters, and convincing atmosphere distinguish this historical narrative of a girl whose rebellion against bigotry and her Puritan surroundings culminates in a witch hunt and trial."
The New York Times: "This book has a lively plot and excellent characterizations. The background has every dimension of reality."
School Library Journal: "An excellent choice . . . whether as an enrichment to the social studies curriculum or purely for pleasure."

5. CONNECTIONS:
Due to its length and difficulty level, this book is most suited to upper elementary children or higher. Topics such as witchcraft, marking people with branding irons, and hangings also make this unsuitable for younger readers. Like Catherine, Called Birdy, this title would also be a wonderful way to bring history alive for students. Those interested in history, or stories about strong female characters might find it particularly interesting. In addition to use with individual students, it might also be used:
* In conjunction with a history class studying colonial America or witchcraft trials.
*In conjunction with a student's independent, in-depth study for a project on colonial America or witchcraft.
*In conjunction with a literature course studying historical fiction.
*If a student or teacher were looking for other historical titles by Elizabeth George Speare, they could be directed to the following:
Speare, Elizabeth George. The bronze bow. ISBN 0395137195
Speare, Elizabeth George. Calico captive. ISBN 0618150765
Speare, Elizabeth George. The sign of the beaver. ISBN 0440479002
*Finally, for those looking to read more about witch hunts and trials, recommended titles might include:
Aronson, Marc. Witch-hunt: mysteries of the Salem witch trials. ISBN 1416903151
Von Zumbusch, Amelie. The true story of the Salem witch hunts. ISBN 1404244794
Yolen, Jane, and Stemple, Heidi Elisabet. The Salem witch trials: an unsolved mystery from history. ISBN 0689846207

Book Review #13: A Historical Novel by a Specified Author

1. For our thirteenth assignment, I chose to review the following historical novel, which was by one of the specified authors:


(Book Cover Source: http://www.harpercollins.com/books/9780064405843/Catherine_Called_Birdy/index.aspx, accessed November 2, 2008)

BIBLIOGRAPHY:
Cushman, Karen. 1994. Catherine, called Birdy. New York: HarperCollins Publishers. ISBN 0064405842

2. PLOT SUMMARY:
Catherine, Called Birdy, winner of the 1995 Newbery Honor Award, was Karen Cushman's first book. As she states in the author's bio, "I grew tired of hearing about kings, princes, generals, and presidents. I wanted to know about what life was like for ordinary young people in other times." Cushman's curiosity has opened a fascinating window for the rest of us, upon the life of a young woman in England in the year 1290.

The story is told through the diary of Catherine, nicknamed "Birdy" for her small stature and love of birds. She is the daughter of a minor, but ambitious lord. The diary begins when she is 13 and concludes a year later. Directed to write it by her older brother, a monk, in order to help her grow less childish, Birdy is at first, resistant to the task. She begins, "I am commanded to write an account of my days: I am bit by fleas and plagued by family. That is all there is to say."

Birdy's subsequent accounts are of her frustration with her daily life: expectations of spinning, sewing, and comporting herself like a lady. She chafes at the strictures of 13th Century England and longs to be a peasant. From tossing her sewing down the privy, to talking back to her elders and driving away her suitors, Birdy's desire for independence is strongly felt. However, Birdy's antics and observations are full of humor, as she recounts her minor rebellions and rituals designed to lighten her life, which never quite yield the results she is hoping for. For example, when she performs a St. Faith's day ritual designed to send her a dream of her future husband, instead, she dreams of the miller's apprentice who can fart at will. In more poignant turns, she also writes of the tragedies of her day, as when she writes of her mother losing her fifth stillborn child, and a seventeen-year-old boy who never awakens after a brawl leaves him wounded.

As time passes, Birdy's father becomes more intent upon matching her to an older, wealthy suitor, Birdy refers to as "Shaggy Beard," and whom she loathes. The diary becomes more introspective as she writes of her dread of the upcoming nuptials and of the changes she is experiencing in her family relationships. Having seen the world through the black and white filter of a child's eyes, Birdy begins to recognize the good deeds her hated father and older brother have done for her and writes of the conflicting feelings this stirs within. She no longer sees her nurse as her chief tormentor, but begins to appreciate her, and the life she may soon be leaving if she weds Shaggy Beard.

Realities of the day are also described, such as icicles on chamber walls, beds shared with many others and full of fleas, child brides and child-bed fever, infrequent bathing, floor rushes full of refuse and dog dung, primitive medicines (also full of dung) with procedures like bleeding the victim, and superstitious fears of fairies, and devils. Religion plays a large focus, both in terms of beliefs of the times, as well as through a book of the Saints Birdy obtains early in the book, and subsequently uses to begin each diary entry with a brief description of the Saint's day. While some are humorous, others are dark and more obscure to the young reader, as in "Feast of Saint Andrew of Crete, stabbed to death by a fanatical Iconoclast."

The climax of the book occurs when Birdy runs away to avoid her marriage to Shaggy Beard. Upon finding haven at her aunt's, after some reflection, Birdy realizes, "I cannot escape my life but can only use my determination and courage to make it the best I can." She returns home to learn that Shaggy Beard has died in a tavern brawl, and she is to wed his son, of whom Birdy writes, "is young and clean, loves learning, and is not Shaggy Beard. For these alone, I am prepared to love him." In typical Birdy fashion, the story closes with a mixture of hopeful, wry, and irreverent comments. She moves from the observation, "The world is full of possibilities," to an admonition to her brother the monk, "Now I leave it to you, Edward, to judge whether this exercise of yours has indeed left me more observant, thoughtful, and learned," to close with her favorite expletive, "God's thumbs!"

Following the novel is a six-page Author's Note. In it, Cushman chronicles how different the medieval world is from our own, explaining the customs and values of the day in more depth. She closes by asking, "Can we really understand medieval people well enough to write or read books about them?" She then responds, "I think we can identify with those qualities that we share - the yearning for a full belly, the need to be warm and safe, the capacity for fear and joy, love for children, pleasure in a blue sky or a handsome pair of eyes. As for the rest, we'll have to imagine and pretend and make room in our hearts for all sorts of different people."

This is followed by a listing of nonfiction books for readers interested in learning more about medieval England. She also includes a listing of first-hand accounts, as well as a list of stories set in or near the Middle Ages.

3. CRITICAL ANALYSIS:
It is easy to see why this was chosen a Newbery Honor book. Hilarious, irreverent, touching, fierce, and vastly informative of a world the average reader knows little about, it is a feast for the reader and a book to cherish.

So what makes this book so captivating? Foremost, it is a terrific example of an author using voice to wonderful effect. From her exclamations of "Corpus bones!" to her rebellion about ladylike ways, Birdy's forthrightness is refreshing, as when she laments how a lady "must not show anger, nor sulk, nor scold, nor overeat, nor overdrink, nor swear. God's thumbs! I am going out to the barn to jump, fart, and pick my teeth!"

Yet, there is a tender side to her too, as when she is undone by a hanging she witnesses, or when she encounters Jews for the first time. Rather than finding the horns and tails she has been told to expect, she writes, "I find it hard to believe that the old lady and the little soft-eyed girl who stayed in our hall could be a danger to England. Is it blasphemy to ask God to protect Jews? I will ask Edward. Or maybe not. Mayhap I will whisper it just to God and trust it is all right. God keep the Jews." Later in the book, this feisty, independent girl trades her dowry money to save a bear that will be killed in a bear baiting, thus locking her into the betrothal agreement with her dreaded suitor. The poignancy with which she writes of this event, as well as her father's battle to save her mother from dying from child-bed fever, and her own fears for her mother, is wrenching. Herein lies the feast. It is a rare book that causes one to laugh out loud, weep, and then laugh out loud again, all in the span of a few pages.

In terms of the criteria by which one typically evaluates historical fiction, Cushman appears to pass with flying colors. She has woven authentic details of the era into the story without overwhelming the reader. In doing so, she has achieved a balance between the historical facts and the fictional elements of the story, which fascinates and informs the reader.

Regarding characters, because it is a diary, the perspective is narrowed to that of Birdy, who comes vividly alive through the entries. However, through Birdy's evocative descriptions, other characters are fairly well developed. Birdy's best friend Perkin, the goat boy, is a source of much wisdom in the book. While Birdy's father begins as a caricature, he evolves into a more fully developed character as we see his vulnerability in his love for his wife. Birdy's mother, her best friend Aelis, her uncle George, and her brother Robert are all portrayed with multifaceted complexity regarding love and loss. Birdy's character grows through her observations of their trials and joys.

As discussed above, Cushman's colorful descriptions of the setting bring the story to life. One can almost smell the unwashed bodies! The descriptions of ink pots freezing, and fleas biting help the reader understand the primitive nature of the times. However, the plot and themes leave the reader feeling that young Birdy is not so different from adolescents in our own times.

However, this leads to one underlying weakness of the book with respect to authenticity. Perhaps Birdy is a bit too much like adolescents of our times. Her rebellious antics are rather out-of-character for a young woman of the 13th Century. Even her ability to read and write is unusual for the daughter of a knight. While a student of feminist studies might applaud Birdy's independent streak, s/he would recognize that the customs of the times would not have allowed Birdy the freedoms described in the book.

In a similar vein, while the speech patterns in the book are easy for modern adolescents to understand, a glance through Chaucer's Canterbury Tales (written in the 14th Century) quickly shows the reader how difficult (though not impossible) it is to understand true Middle English, which would have been the language of the time. However, Cushman scatters enough words like "mayhap" and "yestermorn" through the text, and phrases such as, "Lincoln is wondrous fair and curious," to give the reader at least a sense of another era. In this, she is striking a balance between authentic flavor and readability, which makes the text much more accessible to the reader.

Ultimately, the themes of independence, finding oneself, acceptance of others, and familial and romantic love are so timeless, and written in such an engaging style, that they transcend any flaws. The reader comes away much wiser about life in the 13th Century, and vastly entertained. Isn't that the point of a great book?

4. REVIEW EXCERPTS:
Horn Book - Starred Review: "The vivid picture of medieval life presents a seemingly eyewitness view of a culture remote from contemporary beliefs. Fascinating and thought-provoking."
Kirkus Reviews: "The period has rarely been presented for young people with such authenticity; the exotic details will intrigue readers while they relate more closely to Birdy's yen for independence and her sensibilities toward the downtrodden. Her tenacity and ebullient naivete are extraordinary; at once comic and thought-provoking, this first novel is a delight."
School Library Journal: "Birdy reveals fascinating facts about her time period. A feminist far ahead of her time, she is both believable and lovable . . . Superb historical fiction."

5. CONNECTIONS:
All of the reviews for this book said "For ages 12 and up," and probably with good reason. Descriptions of hangings, the amorous antics of villagers, and pregnant 12 year olds, are probably not suitable topics for elementary students. That being said, this book would be a wonderful way to help bring history alive. Aside from referring individual students to the book who are interested in history or stories with strong female protagonists, it could be used in the following ways:
*In conjunction with a history class studying medieval times.
*In conjunction with a literature class studying historical fiction
*In conjunction with a literature class studying the use of voice in writing.
*If students or teachers were looking to pair it with nonfiction historical books written for a younger audience, they might select the following titles:
Langley, Andrew. Medieval Life. ISBN 0756607051
MacDonald, Fiona, Salariya, David. How would you survive in the middle ages? ISBN 0531153061
Schlitz, Laura Amy. Good masters! Sweet ladies! Voices from a medieval village. ISBN 0763643327
*Finally, students and teachers might also enjoy Cushman's Newbery Award winner:
Cushman, Karen. The midwife's apprentice. ISBN 006440630X

Book Review #12: A Recent Biography by a Specified Author

1. For our twelfth assignment, I chose to review the following biography, which was by one of the specified authors:

(Book Cover Source: http://www.worldcat.org/oclc/60705665&referer=brief_results, accessed October 27, 2008)

BIBLIOGRAPHY:
Krull, Kathleen. 2006. Isaac Newton. Ill. by Boris Kulikov. New York: Viking. ISBN 0670059218

2. SUMMARY:
Kathleen Krull is an award-winning children’s author of biographies. Isaac Newton is the second in her series, Giants of Science. The book opens with a Table of Contents, and then an Introduction, which begins, “Secretive, withdrawn, obsessive. Ruthless, bitter, perhaps in need of therapy... All these things apply to Isaac Newton. Oh, and he was one of the greatest scientific minds of all time. (Albert Einstein, who should know, said Newton was the greatest.)” Thus, the reader embarks on Krull’s lively biography of one of the most famous men in history.

From his lonely childhood, to his first experiments and rise at Cambridge, to his intellectual battles with his enemies, to his years as the first celebrity scientist, to his final years as Master of the Mint of England and eventual death at 85, Krull chronicles Newton’s amazing life and the far-reaching impact of his endeavors. More than just the mere facts of his life, Krull broaches more controversial issues such as his possible homosexuality and emotional imbalance. She also includes explanations of his major accomplishments, which are surprisingly easy to understand. Boris Kulikov’s half-dozen pen-and-ink illustrations are rather like caricatures, with exaggerated features and expressions. The intent appears to be humorous, a fitting match to Krull’s irreverent style. The book concludes with a brief bibliography, in which books or magazine articles appropriate for young readers are marked with asterisks. This is followed by a brief list of websites and a fairly comprehensive index.

3. CRITICAL ANALYSIS:
It is interesting to note that this book is billed on its jacket as “scrupulously researched, and juicily anecdotal.” A reader might be more assured of the “scrupulously researched” claim if the book had included in-text citations or specific bibliographic notes at the end. Aside from the list of books and websites offered at the end, one must conclude that the book is a compilation of information Krull gained through her reading and research. In a similar vein, while the “juicily anecdotal” claim addresses the book’s entertainment value, it raises a question about the validity of many of Krull’s statements. She repeatedly attributes emotions and opinions to Newton and those around him. While Newton and his contemporaries wrote letters and kept notes and journals, more scholarly readers may wince at some of these comments and long for a citation . . . Examples include statements like, “The idea of publishing his discoveries filled him with nameless dread,” and “To Newton, all this was “rudeness.” The need to explain himself enraged him.” She also writes, “The boys seemed resentful of him. Perhaps they made fun of his small size. Newton’s feeble attempts to make them like him only backfired.” Referring to Edmond Halley’s deliberations about approaching Newton, she writes, “He cringed at the thought, but decided that flattery was the way to approach the hypersensitive professor.” This reads more like historical fiction than a nonfiction book in the strict sense of the term.

Krull also uses emotionally-laden terms when describing situations. For example, she writes, “’Slimy’ is one word for the way Newton used his position as president of the royal Society to deal with Leibniz.” At another point, Krull writes, “He was a man who was paranoid about divulging his own work and a man who begrudged and sabotaged the work of others.” Many of the more inflammatory notions are raised as questions. Krull frequently uses words like “perhaps” and “one might believe” to preface many of her speculative comments. While technically, she is not claiming them to be true, she is certainly introducing the possibility to the reader.

In terms of style, Krull often dispenses with modern conventions and writes in an informal, conversational manner. For example, she writes, “From childhood on, much of his time was spent silent and alone. Thinking. Always thinking.” Referring to the family with which he boarded when he was away from school, Krull writes, “Clark had two stepsons, with whom Newton (surprise) did not get along.” Her style also captures the reader’s interest and forges links to modern experiences. For example, she writes, “To Newton, stepping onto the splendid campus might have been the thrill that entering Hogwarts School was to the young Harry Potter.” At another point she writes, “The world of Newton’s day vibrated with change and drama. English politics, for example, was like an extreme sport - kings coming and going, getting beheaded, being run out of the country.” Krull’s clever use of juxtaposition repeatedly delights the reader, as when she writes, “Newton seemed to float above the fray. Up in his ivory tower at Cambridge University, he lived a quiet life. A life apart. Except when he was poking sharp objects into his eyes, throwing world-class tantrums, burning fires night and day in his secret laboratory, and making earth-shattering discoveries and refusing to tell anyone.”

As the book reads more like historical fiction, its not surprising that its organization is like a traditional novel. Aside from the introduction, the text proceeds chronologically, from birth to death. In a similar way, the books design is reminiscent of a novel. Kulikov’s illustrations add humor and details that enliven the book. Otherwise, aside from the Table of Contents, scant Bibliography and Index, one might assume one were reading a work of fiction.

On a personal note, I enjoyed this biography a lot. As a 6th grade math and science teacher, I was amazed by the way Krull was able to convey Newton’s complex theories in such easily understandable summaries, that also helped one understand their relevance. As a bit of a traditionalist, I confess I winced at the way she attributed thoughts and feelings to Newton and those around him. Still, it made for fascinating reading! Were I to use this book with students, I would want to first discuss issues about being a discriminating reader and discerning when a biographer might be stretching the truth of what can actually be known.

4. REVIEW EXCERPTS:
Booklist: “The lively, conversational style will appeal to readers; Newton comes off as disagreeable and difficult, but never boring.”
Bulletin of the Center for Children’s Books: “Krull and Newton are a match made in heaven; she with her flair for capturing the flaws and foibles of the mighty, and he with his razor-sharp mind and abysmal social skills. Chatty, incisive chapters fly by at the speed of a well-crafted novel.”
The Horn Book: “Krull’s conversational tone not only eases readers into clear explanations of physics and calculus, but also lends a lively voice to a biography chock-full of information.”
School Library Journal: “Lucid, animated descriptions of Newton’s major achievements . . . in general her assessment of his stellar position in the history of science is right on target.”

5. CONNECTIONS:
Many students may have already been introduced to Krull’s biographies through her Lives of the . . . books. While these offer brief portraits of various artists, musicians, and famous women, Isaac Newton might be a good next step for students intrigued by biographies. Although the difficulty level of the book is in the middle school range, motivated upper elementary students with a passion for science and math would probably enjoy this book. However, topics such as homosexuality and dangerous experiments (like Newton’s poking objects into his eyes and staring at the sun to see how it affected his vision) might lead to some caution regarding to whom one referred this book.
Aside from suggesting it to individual students interested biographies, history, science or math, it might also be used:
*In conjunction with a science class studying Newtonian physics or optics.
*In conjunction with a math class studying the origins of calculus.
*In conjunction with a student's independent, in-depth study for a project on science, math or Newton. In that case, other possible titles might include:
Gianopoulos, Andrea. Isaac Newton and the laws of motion (invention and discovery series). ISBN 0736878998
McPherson, Joyce. The ocean of truth: the story of Sir Isaac Newton. ISBN: 1882514505
Steele, Phillip. World history biographies: Isaac Newton: the scientist who changed everything. ISBN 1426301146
*One might also use the book in conjunction with a literature course analyzing the attributes of biographies and how to be a discerning reader with regard to accuracy.
*Finally, if students or teachers were looking for other titles by Kathleen Krull in a similar vein, they could be directed to the following:
Krull, Kathleen. Leonardo Da Vinci: giants of science. ISBN: 0670059202
Krull, Kathleen. Marie Curie: giants of science. ISBN: 0670058947
Krull, Kathleen. Sigmund Freud: giants of science. ISBN: 0670058920