Book Review #6: A Folk Literature Collection

1. For our sixth assignment, I chose to review the following book, which was one of the specified folk literature collections:

(Book Cover Source: Worldcat at:
http://www.worldcat.org/search?q=Moonbeams%2C+dumplings+%26+dragon+boats&=Search&qt=owc_search, accessed September 28, 2008)

BIBLIOGRAPHY:
Simonds, Nina, Swartz, Leslie, The Children's Museum, Boston. 2002. Moonbeams, dumplings, & dragon boats: A treasury of Chinese holiday tales, activities & recipes. Ill. by Meilo So. New York: Gulliver Books - Harcourt, Inc. ISBN 0152019839

2. PLOT SUMMARY:
Respected Asian cookbook author Nina Simonds has joined with Leslie Swartz of the Children's Museum in Boston and illustrator Meilo So to create a comprehensive children's guide to celebrating five major Chinese holidays. The five targeted holidays include Chinese New Year, The Lantern Festival, The Cold Foods Festival, The Dragon Boat Festival, and the Mid-Autumn Moon Festival. The book begins with an explanation of the lunar calendar, which all Chinese festivals follow. Each holiday section begins with a description of the history of the festival and the customs associated with it. This is followed by a folktale, which often explains the reason certain foods and customs are associated with the festival. Next, the authors include several craft activities and recipes, which are traditionally made in preparation for celebrating the festival. Traditional games are often included in this section as well. Following the festival segments is a resource section divided into sources for adults, children, and those found on the Internet. The book concludes with a helpful Guide to Chinese Pronunciation. Throughout the book, Meilo So's colorful illustrations not only bring the festivals to life, but often offer step-by-step assistance in the creation of the activities and recipes.

3. CRITICAL ANALYSIS:
The scope of this book is very ambitious. In a search for other books of its kind, most simply stressed the Chinese New Year. Only a few books mentioned other holidays, and only one of those also included a small number of recipes and activities. Thus, Moonbeams is truly a comprehensive endeavor.

The folktale portions of the book are entertaining, but a bit challenging to follow. The introductory portions for each festival offer only the briefest explanation of the religious beliefs on which these folktales are based. Without an understanding of the bigger picture from which these spiritual beliefs spring, a concern is that concepts like the Kitchen God and ancestry worship might be mocked or dismissed out of ignorance of their larger significance to the culture.

That being said, each tale contains a lesson, a moral, or an explanation. For example, "The Story of the Kitchen God" deals with honesty, greed, and explanations for the causes of hardships from nature. Mystical events are a motif that runs throughout all of the tales. Gods and Goddesses come among the people rendering judgments. People also have mystical qualities. For example, in "Dongfang and the Festival of Lanterns," Dongfang's ability to divine the future is a main element of the story. Suffering and its avoidance is a theme that also runs throughout most of the folktales, with the "Tale of Jie Zitui" particularly focusing on it. Loyalty is a value that is repeatedly held in the highest regard. In contrast, the price of being greedy is a theme that is hammered home in most of the tales.

Although most of the tales contain rather dark elements, Meilo So's bright, colorful illustrations bring a light, celebratory feel to the book. The two-page illustrations, which introduce each of the festivals are beautifully detailed watercolors that leap off the page. Bright oranges, reds, pinks, yellows, and blues give a cheerful, happy feel to the pages.
Amid the stories, recipes, and activities, white space is liberally used to highlight So's informative and often amusing illustrations. While the illustrations which accompany the folktales have a more traditional Asian style, others throughout the book are much more multicultural. Children's faces have both Eastern and Western features. Watercolors depicting nature, people, and objects are whimsically done in colorful, casual fashions.

The book is probably more suitable for older children and adults. Recipes are rather complex and include risky steps like cooking with open skillets or woks. The folktales include a great deal of suffering, and several characters choose to kill themselves. These themes might be disturbing to younger children and raise challenging questions among upper elementary children.

4. REVIEW EXCERPTS:
Booklist: "Brightly illustrated . . . attractively designed . . . fun for young people."
Education World - Best Books: "Filled with delectable recipes, hands-on family activities, and traditional tales to read aloud, this extraordinary collection will inspire families everywhere to re-create the magic of Chinese holidays in their own homes."
School Library Journal: "Moonbeams is a useful, visually appealing addition to any holiday collection."

5. CONNECTIONS:
*As stated above, this book is probably more appropriate for older children and adults. It could serve as an excellent resource for launching a multicultural discussion among students, or as a resource for creating a multicultural celebration for students and families. Other titles describing festivals from diverse cultures might include:
Gilbert, Jean. European festivals: Songs, dances, and customs from around Europe. ISBN 0193212862
Jones, Lynda. Kids around the world celebrate!: The best feasts and festivals from many lands. ISBN 0471345270
Kindersley, Anabel and Barnabus. Children just like me: Celebrations! ISBN 0789420279

*Focusing more upon the folktale aspect of Moonbeams, one could collect other Asian folktales, or look at folktales that are the basis of festivals in other cultures. Asian titles might include:
Conger, David, Yee, Patrick, Toth, Marian Davies, and Lyons, Kay.
Asian children's favorite stories: A treasury of folktales from
China, Japan, Korea, India, the Philippines, Thailand, Indonesia,
and Malaysia. ISBN: 0804836698
Junne, I.K. Floating clouds, floating dreams: Favorite Asian Folktales. ISBN 0385052049
Kurita, Miwa. China tells how the world began! (Asian folktales retold). ISBN 0893469440

Titles with folktales or religious stories that serve as the basis for festivals in other cultures might include:
dePaola, Tomie. The Legend of the Pointsettia (Mexican Folktale). ISBN 0399216928
Zucker, Johnny. Eight candles to light: A Chanukah story. ISBN 0764122665
Zucker, Johnny. Fasting and dates: A Ramadan and Eid-ul-Fitr Story (Festival Time). ISBN 0764126717
Zucker, Johnny. Lighting a lamp: A Diwali story (Festival Time). ISBN 0764126709

Book Review #5: A Folktale Retold and/or Illustrated by a Specified Author/Illustrator

1. For our fifth assignment, I chose to review the following book, which was written and illustrated by Paul Goble, one of the specified author/illustrators:

(Book Cover Source: WorldCat at http://www.worldcat.org/oclc/9945098&referer=brief_results accessed September 27, 2008)

BIBLIOGRAPHY:
Goble, Paul. 1984. Buffalo woman. New York: Bradbury Press. ISBN 0027377202

2. PLOT SUMMARY:
Prior to beginning the actual folktale, on the copyright page, Goble has offered an explanation about the Great Plains tribal cultures in which this tale has its roots. It behooves the reader to take the time to read this background material, as it provides a context which deepens one's understanding of the significance a tale such as Buffalo Woman might hold for these societies. To the tribal way of thinking, Goble states, "These stories were not simply for entertainment; they had power to strengthen the bond with the herds, and to encourage the herds to continue to give themselves so that the people could live. It was felt that retelling the story had power to bring about a change within each of us; that in listening we might all be a little more worthy of our buffalo relatives."

The folktale begins with a young man who has already proven both his prowess as a hunter, as well as his reverence for that which he hunts. He is waiting by a stream for a sign of buffalo. He sees a buffalo cow slowly approaching the stream. Then, not knowing whether he fell asleep or what happened, the buffalo has been replaced by a beautiful young woman, with whom he instantly falls in love. She explains that she has been sent by the Buffalo Nation because of his good feelings for them, and she agrees to be his wife so that the love they share will be an example for both of their people to follow. Soon, they have a son named Calf Boy and their life together is good. However, the young man's family does not like his wife, calling her an animal, among other things. They drive her and her son away. As Buffalo Woman and Calf Boy begin their trek back to her people, the young man follows them, trying to convince them of his love. Twice, he rejoins them, only to have them warn him of the danger of pursuing them, and to find in the morning that they have disappeared again. As the young man reaches the Buffalo Nation at last, his son approaches to warn him of the ordeal he must face from his grandfather, the chief of the Buffalo Nation. He will be challenged with identifying his wife and son from among the multitude of buffalo. His son tells him he will help his father identify them by flicking his left ear and placing a cockle-burr upon his mother's back. Despite the threat of death, the young man is able to successfully complete the challenges, and the Buffalo Nation decides to make him one of them. He is covered in a buffalo pelt and isolated in a tipi for three days and nights, and then on the fourth day, he is transformed into a young buffalo bull through the buffaloes tumbling of him, squeezing the breath out of him, and breathing their new breath into him. This was celebrated as the wonderful day a mutually beneficial relationship between the People and the Buffalo Nation was forged that will last until the end of time. This relationship is identified as "the Creator's wish." The folktale closes with the final statement: "Mitakuye oyasin - We are all related."


3. CRITICAL ANALYSIS:
For a man who grew up in another country, Paul Goble brings a celebration and reverence of Native American traditions to his work, like that of one born to them. Two years after he left England and came to live and study in the Black Hills of South Dakota, he was the winner of the Caldecott Medal in 1979 for The Girl Who Loved Wild Horses. Thus, Goble's unique illustrative style had already received the highest accolade prior to his writing and illustrating of Buffalo Woman in 1984.

Buffalo Woman is not precisely of the "Pourquoi" folktale type, in the sense that this tale does not explain a natural phenomenon like why the tiger has stripes or how the elephant got its long trunk. However, it does seek to explain something of significance to the Native American culture. While one could argue that buffalo have no need whatsoever of humans, the same could not be argued that the tribes of the Great Plains did not need the buffalo. Thus, the significance of the explanatory nature of the tale lies in the spiritual, rather than physical relationship between the main characters of the humans and the buffalo. Messages about love and mutual respect are woven throughout. In case the reader has missed these more subtle messages, Goble ends the tale by summing up the theme very concisely for the reader with his "We are all related" concluding statement.

Traditional Native American folktale motifs are also present, such as transformations, talking animals, trickery, and the number four, as when the young man transforms on the fourth day. While one would like to think that the young man's love for his family was so strong, he could have identified them from the bonds of their relationship, the custom of trickery is such a well-known tradition in Native American tales that audiences have come to expect it.

Goble's illustrations serve to both establish the setting and enhance the tale. The pen and ink drawings of the Plains, painted with rich watercolors, dominate the pages. This perhaps explains why the first page of the tale has just a few drawings beneath the opening paragraph. Without this conscious, initial focus on the words, Goble's striking art is likely to distract the reader from the story. As one turns to the next page and finds dramatic illustrations, yet no words, one begins to understand that the art will play a significant role in the telling of the tale. The painstaking precision with which Goble has drawn the scenes seems to say, "Notice us - we are important and worthy of your attention." Thus, the reader's eye is drawn to the details, like the tiny ceremonial elements surrounding the young man, and the hunt scene portrayed on his robe.

As the story unfolds, the blues and greens of the prairie are replaced by the powerful reds and browns of the Buffalo Nation's world. Interestingly, the final page is white like the opening page of the story. Only a primitive drawing, like one might see on a cave wall or tipi, graces the page, with the heads and two legs of the facing buffalo making a heart-like shape. Like the opening page, the focus on the words on the final page seems to imply that it is ultimately the message in the tale that matters the most.

On a final note about the illustrations, given the precision with which Goble draws everything else, one can only conclude that the mere sketching of the humans' features was purposeful and symbolic. The humans' eyes are nothing more than a single line - as though they barely "see." This is in contrast to the warm, wide, human-like eyes of the buffalo who seem to see and know all. Even the prairie dogs have more human-like eyes than the Goble's people do. Thus, the features of the buffalo imbue them with a wisdom that the humans do not seem to possess.

4. REVIEW EXCERPTS:
The Horn Book Review: "The author-artist successfully combines a compelling version of an old legend with his own imaginative and striking visual interpretation."
Interracial Books for Children Bulletin: "As usual, the material is treated with respect, which is appreciated. Also as usual, the illustrations are lovely."
School Library Journal: "In text and illustrations, Goble's story exhibits a quiety simplicity, respect for nature and the power of love."

5. CONNECTIONS:
*Buffalo Woman would be a great way to launch a lesson about multicultural folktales. One could gather tales from other cultures and compare and contrast them, noting thematic, character, plot, and stylistic differences. Titles might include:
Conger, David, Yee, Patrick, Toth, Marian Davies, and Lyons, Kay.
Asian children's favorite stories: A treasury of folktales from
China, Japan, Korea, India, the Philippines, Thailand, Indonesia,
and Malaysia. ISBN: 0804836698
Mandela, Nelson. Nelson Mandela's favorite African folktales. ISBN 0393329909
Philip, Neil. Horse hooves and chicken feet: Mexican folktales. ISBN 0618194630

*One could also pair this title with other Native American folktales from different authors and illustrators, in order to compare and contrast the different styles and themes. Titles might include:
Bruchac, Joseph. Between Earth & sky: Legends of Native American sacred places. ISBN 0152020624
dePaola, Tomie. The Legend of the Indian Paintbrush. ISBN 0698113608
Oughton, Jerrie. How the stars fell into the sky: A Navajo legend. ISBN 0395779383

*Finally, Paul Goble has written and illustrated a number of outstanding Native American folktales. Launching a discussion comparing and contrasting styles and themes among his books would also be a terrific lesson. Titles might include:
Goble, Paul. Dream wolf. ISBN 0689815069
Goble, Paul. The gift of the sacred dog. ISBN 0020432801
Goble, Paul. The girl who loved wild horses. ISBN 0689845049
Goble, Paul. The great race. ISBN 0689714521
Goble, Paul. Star boy. ISBN 0689714998

Book Review #4: A Picture Book Version or Variant of Cinderella

1. For our fourth assignment, I had already read many of the versions and variants of Cinderella. Therefore, I chose to read the following book, which I had not read before:

(Book Cover Source: WorldCat at: http://www.worldcat.org/oclc/36188323&referer=brief_results, accessed September 21, 2008)

BIBLIOGRAPHY:
Ketteman, Helen. 1997. Bubba the cowboy prince. Ill. by James Warhola. New York: Scholastic Press. ISBN 0590255061

2. PLOT SUMMARY:
The traditional fairy tale Cinderella is given a new twist with a "strapping young feller named Bubba" as the protagonist. A wicked stepdaddy and two "hateful, lazy" stepbrothers are joined by a fairy godcow and Miz Lurleen, "the purtiest and richest gal in the county," to round out the cast of characters. While the plot faithfully follows the traditional tale, the delight comes in the parodies the author and illustrator have created in their version. The setting is the Wild West. A cowboy boot replaces the glass slipper. Instead of a pumpkin coach, a steer becomes a beautiful white stallion. A hoedown replaces the ball. Miz Lurleen identifies her prince in cowboy boots by shouting, "I'd recognize that smell anywhere!" Finally, their version of a happy ending is that Bubba and Miz Lurleen "lived happily ever after, roping, and cowpoking, and gitting them dogies along."

3. CRITICAL ANALYSIS:
Refreshing on many levels, this book offers a version of the traditional Cinderella tale that will captivate all types of readers. At last, here is a version of the tale to which boys can relate. Girls will appreciate Miz Lurleen's independence as owner of the "biggest spread west of the Brazos." Everyone will appreciate the humorous dialogue and illustrations filled with hilariously rendered western symbols. The moral of the tale loses none of its effectiveness, despite the comical twist. In fact, Bubba's love of ranching brings a poignancy to his sacrifices that is missing from the original tale. The grin on his face as he's riding the bronco on the opening page speaks volumes.

Like many picture books, James Warhola's illustrations are a huge part of the appeal of this book. From the magical cover rendered with acrylic paints in beautiful blues and purples, to the dusty tumbleweeds and spiky cacti, each image draws the eye. The humans and animals are extremely comical. The wild eyes of the horses and cattle are hilarious. The long suffering look on the horse as it is bathed is priceless. The cartoonish rendering of the characters seems to add to the tone of "we're just having fun, here." Abounding with visual stereotypes such as Miz Lurleen's "big hair," the snooty butler, bad guys with bad teeth, and pudgy stepbrother Milton bursting out of his shirt, this cartoonish tone seems to lessen any offense that might be taken. Filled with rich blue and green backgrounds, while the characters are highlighted in yellow and orange, each page stands out to the reader. Occasionally, Warhola uses a beige background behind a particularly significant image, as though to emphasize it. For example, this technique is used when the steer and Bubba undergo their magical transformation, again when the magic wears off, and when Bubba and Miz Lurleen ride off into the sunset. Finally, like the traditional tale, the notion of evil is definitely emphasized through the illustrations. The initial illustration of the wicked stepdaddy is downright scary.

There is also more than one hidden story within the pages. If one looks closely, the fairy godcow can be found on almost every page. There is also a budding romance between Bubba's and Miz Lurleen's dogs that unfolds throughout the story. These both serve to engage the reader even more deeply into the story and illustrations.

4. REVIEW EXCERPTS:
Bulletin of the Center for Children's Books: "Upended fairy tales are pretty familiar now, but this one has sass and pizzazz."
Kirkus Reviews: "There are no surprises in this version except in the hilarious way the premise plays itself out and in Warhola's delightful visual surprises."
San Francisco Chronicle: "The tale is familiar, but the cowboy patois, dechauvinized plot and hilarious illustrations make this a delightful updating."

5. CONNECTIONS:
*The text for this class, Children's Literature in Action by Dr. Sylvia Vardell, offers wonderful suggestions for teaching a Cinderella unit. It lists variants of the story from major world cultures and suggests choosing several to compare and contrast. In addition, links to Cinderella poems, novels, parodies, and web sites are also offered in order for students to make connections of a different nature. Closing by having students create their own versions of Cinderella is recommended. Finally, a suggestion is made to consider other folktales that have multiple versions such as The Three Little Pigs or Little Red Riding Hood.

*For older children, this would be a good starting point to launch a discussion about stereotypes. As noted above, several are perpetuated in Bubba The Cowboy Prince while others are avoided. Gender roles could definitely be part of the discussion. Beginning with a traditional tale like Marcia Brown's Cinderella and moving on to other less traditional stories like Susan Lowell's Cindy Ellen, whose godmother declares, "Magic is plumb worthless without gumption," would help promote discussion. Titles might include:
Brown, Marcia. Cinderella, or the little glass slipper. ISBN 0689814747
Cole, Babette. Prince Cinders. ISBN 0698115546
Jackson, Ellen. Cinder Edna. ISBN 0688162959
Lowell, Susan. Cindy Ellen. ISBN 0064438643
Munsch, Robert N. The paperbag princess. ISBN 0920236162

Book Review #3: A Recent Caldecott Award Medal Book

1. For our third assignment, I chose to review the following book:

(Book Cover Source: WorldCat at http://www.worldcat.org/oclc/39763889&referer=brief_results, accessed September 13, 2008)

BIBLIOGRAPHY:
St. George, Judith. 2000. So you want to be president? Ill. by David Small. New York: Philomel Books. ISBN 0399234071

2. PLOT SUMMARY:
Rather than write a traditional history book, St.George has crafted an entertaining look at the more human side of the presidents. St. George begins by telling the good and bad aspects of being the President, including life at the White House and dealing with angry citizens. She goes on to discuss common Presidential first names, those born in log cabins, and differing physical appearances and personalities. Filled with anecdotes about Presidential virtues and vices, talents and former careers, St. George covers a lot of ground in a fast-paced, lively manner. David Small's humorous illustrations, reminiscent of political cartoon caricatures, add an amusing, comical tone to the book. However, the book closes on a more serious note. Citing Grover Cleveland's motto "Tell the truth," St. George relates the cautionary tales of Nixon and Clinton. The final pages sum it all up with a discussion of the oath of office and encouragement for the reader to pattern oneself after the best of the Presidents. Following the text, the book concludes with a page listing the Presidents featured in each illustration, a brief biography of each President, and a Bibliography.

3. CRITICAL ANALYSIS:
The word "irreverent" comes to mind when reflecting upon the style of this book. Although the tales are true, it feels a bit like Mad Magazine meets the Presidents. Much of the text and illustrations were rather unflattering, with the exception of a page about Thomas Jefferson. If one is looking for an unbiased account of our Presidents, one should probably keep looking. It is interesting to note that out of all the incidents from which St. George could choose, she rarely speaks of any positive progress various Presidents made. Instead, we are treated to their weakest moments. While this makes for interesting reading in a National Enquirer kind of way, it seems to cheapen the overall impression with which one is left. Perhaps that is why St. George closes the book with a more general discussion of the best attributes of the Presidents and an admonishment to pattern oneself after those. It leaves one with a more lofty image, which overshadows the skinny-dipping and the brawling.

David Small's illustrations are quite clever. His caricatures are dead-0n exaggerations of the Presidents' most notable traits. He uses color and composition to good effect. The Presidents' heads are as large as their bodies, and colors are mostly mild, watercolor washes of pastels, so as not to detract from the vivid portrait of the caricature. Little visual jokes abound, such as the dog intrigued by Washington's discarded shoe, and George Bush painted green with envy behind the curtain while Reagan is on stage. Like Betsy Lewin's final scenes in Duck for President, Small uses deep blues to denote the serious nature of a chastised Clinton and Nixon departing from the Lincoln Memorial. He does the same for the final, serious pages of the book where St. George discusses the oath of office and the tremendous responsibility a president must bear.

Overall, one has to speculate about the target audience of this book. The text is fairly challenging, suitable for older children. Many of the subtleties of the illustrations will escape all but adults, who will recognize Kissinger watching Nixon bowl, or Jesse Jackson barred from the gathering of Presidents. Thus, it is probably not all that suitable for younger children. With its rather irreverent nature, perhaps that's just as well.

4. REVIEW EXCERPTS:
The Horn Book: "Arranging historical tidbits in an attractive buffet, this well-timed book offers anecdotes both cautionary and guaranteed to attract attention and arouse interest."
School Library Journal: "This title will add spark to any study of this popular subject."
Booklist: "Thoughtful composition and layout both contribute to the lively visual presentation of this most original look at the presidency."

5. CONNECTIONS:
*As stated above, this book is probably more suitable for older children and adults. With the upcoming national election, it might be an interesting way to launch a discussion with older children about leadership qualities and personalities. One might also discuss some history about political cartoons, given the nature of the illustrations in the book.

*Like the connections previously mentioned for Duck for President, this book could also be paired with other election books for a more in depth look at the electoral process. Other titles might include:
Christelow, Eileen. VOTE! ISBN 0618247548
Granfield, Linda. America Votes: How our president is elected. ISBN 1553370864
Winters, Kay. My teacher for president. ISBN 0525471863

Book Review #2: A Book By A Specified Author/Illustrator

1. For our second assignment, I chose to review the following book, which was illustrated by Betsy Lewin, one of the specified author/illustrators:

(Book Cover Source: WorldCat at http://www.worldcat.org/oclc/53223488&referer=brief_results, accessed September 13, 2008)

BIBLIOGRAPHY:
Cronin, Doreen. 2004. Duck for president. Ill. by Betsy Lewin. New York: Simon & Schuster Books for Young Readers. ISBN 0689863772

2. PLOT SUMMARY
In this best-selling picture book, the award-winning team of Doreen Cronin and Betsy Lewin reunite to craft an amusing new tale about Duck (the manipulative star of Click, Clack, Moo and Giggle, Giggle, Quack). This time, Duck is dissatisfied with his farm chores and decides to hold an election to displace Farmer Brown as the head of the farm. Upon winning, Duck realizes running the farm is actually hard work and decides to run for governor. After winning this election, he again realizes it is hard work and decides to run for president. Upon winning and realizing that this, too, is harder than he expected, Duck eventually returns to the farm, where he begins writing his autobiography. Through the course of the story, Cronin's text and Lewin's drawings weave a fair amount of information about the electoral process into the story - without being heavy-handed. Adults will appreciate the allusions to former presidential campaigns.

3. CRITICAL ANALYSIS
Cronin is adept at blending genuine information and subtle life lessons with such humor that the reader comes away bemused, but wiser. While Duck and Farmer Brown's characters are more developed, those of the other farm animals serve largely as foils, against which to contrast Duck's cleverness. This book also relies less on stylistic sounds than its predecessors. However, there is a certain repetition to the text with respect to the "very hard work" refrain, campaign activities, sticky ballots, and ultimate outcomes. While younger children will enjoy the repetitive pattern, it serves to underline the theme for older readers. Although one could sum up the theme with a rather simplistic "the grass is always greener" or "there's no place like home" kind of statement, one is left with the impression of Duck's extraordinary ambition. The conclusion gives one the sense that the story goes on . . . which leaves us anticipating the next delightful installment in the series!

Lewin's illustrations are a huge factor in the appeal of this book. Although her black-line characterizations of the animals and humans are not elaborate, Lewin is able to convey such expressive emotions on their faces, one is amazed and amused by her cleverness. Her use of color and composition is also very effective. The story opens with the tranquil, pastel watercolors of the farm at sunset. Then bright red and deep gold are used to intensify the more pivotal moments and pages of the story. Lewin uses white backgrounds and simple drawings for the more routine sections of the story, with multiple events per page. A lot of the electoral information is conveyed in clever ways in her drawings of signs and media. When the reader learns that Duck has been elected president, it comes as a bit of a shock to turn from the series of white pages to find the scene of the Oval Office washed in deep blue - symbolic of Duck's "blue" state of mind. The story ends with the tranquil pastels of the farm - contrasted on the final page of white, with Duck moving on to the next scheme. Lewin also scatters "inside jokes" throughout the book. For example, on the final page, the typewriter from Click, Clack, Moo is in the wastebasket, and Duck is using a computer.

My personal reaction was very positive to this book. I am a fan of this series, for both the story lines and illustrations. Just glancing at the expressions Lewin has drawn on the pigs' faces as they react to Farmer Brown's smelliness makes me grin. I like that Cronin and Lewin are tackling the subject of elections to help broaden children's social awareness. I think children and adults of all ages would enjoy this book.

4. REVIEW EXCERPTS and AWARDS
New York Times Best Illustrated Books Award
Parenting Magazine's Best Books of the Year
School Library Journal Best Books of the Year: "Cronin's text is hilarious for kids and adults . . . Lewin's characteristic humorous watercolors with bold black outlines fill the pages with color and jokes."
International Reading Association: "Betsy Lewin's illustrations distill the essence of electioneering in this tongue-in-cheek ode to politics."

5. CONNECTIONS:
*This book would be a terrific resource to launch a discussion about the upcoming national election. As the reading level is a bit high for younger grades, this would make an excellent read aloud. One could also read other books about elections such as:
Christelow, Eileen. VOTE! ISBN 0618247548
Granfield, Linda. America Votes: How our president is elected. ISBN 1553370864
Krosoczka, Jarrett J. Max for president. ISBN 0375824286
St. George, Judith. So you want to be president? ISBN 0399234071
Winters, Kay. My teacher for president. ISBN 0525471863

*One could also gather the other Cronin & Lewin books starring Duck to look at similarities and differences across the series.
Cronin, Doreen. Click, clack, moo. ISBN 0689832133
Cronin, Doreen. Giggle, giggle, quack. ISBN 0689845065