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 The book opens with a Table of Contents, and then an Introduction, which begins, “Secretive, withdrawn, obsessive.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

Book Review #11: A Nonfiction, Orbis Pictus/Sibert Award Winning/honor Book

1. For our eleventh assignment, I chose to review the following nonfiction book, which won the 2004 Sibert Medal for the informational book which made a significant contribution to the field of children's literature, was chosen as a Newbery Honor book, and a National Book Award Finalist as well:
(Book Cover Source: http://www.worldcat.org/oclc/50958941&referer=brief_results, accessed October 26, 2008)

BIBLIOGRAPHY:
Murphy, Jim. 2003. An American plague: the true and terrifying story of the yellow fever epidemic of 1793. New York: Clarion Books. ISBN 0395776082

2. SUMMARY:
Jim Murphy is the award-winning author of more than 30 books about American history for children. As the title suggests, in An American Plague, he tells the dramatic story of the 1793 yellow fever epidemic, which centered in Philadelphia. Through first-hand accounts, newspaper articles, maps, and drawings from the period, Murphy brings the research to life, telling of the events from multiple perspectives. In a comprehensive style, Murphy discusses the social, political, and physical conditions of the times, as well as the medical knowledge (and lack thereof) and subsequent arguments about causation and treatment of yellow fever. Sparing no details, Murphy describes the horrors of the illness, and a city filled with dead bodies, in gruesome detail. However, he also focuses on inspiring examples of exemplary character. After those who could flee the city did, Murphy pays particular note to the heroic efforts of ordinary citizens who stayed behind and showed tremendous leadership, including the significant role Philadelphia's free blacks played in the catastrophe. He also describes the Constitutional crisis President Washington dealt with when he was forced to leave the city, but couldn't convene congress elsewhere due to the laws of the time.

The book closes with a chapter, which chronicles subsequent epidemics and efforts to understand and prevent yellow fever, up to the present time. Chillingly titled, "A Modern-Day Time Bomb," Murphy warns, "Two factors make the situation especially dire in the United States . . . no company here has produced the vaccine in recent years . . . Second, despite years of research, there is still no cure for yellow fever. While modern medicines can lessen the impact the disease has on the human body, once a persona has yellow fever, he or she will have to endure most of the horrible symptoms that Philadelphia's people suffered in 1793." Thus, the reader is brought full-circle. Source notes are included at the end, along with a note about the illustrations, and a comprehensive index. The source notes are extensive, and include Murphy's comments about the relevance of the particular source.

3. CRITICAL ANALYSIS:
"Riveting" is an apt description of An American Plague. In a modern world haunted by fears of epidemics such as SARS and avian influenza, readers will find Murphy's account of this historic epidemic, and cautions for our time, to be both fascinating and informative. History enthusiasts will appreciate the vivid images he paints of life in 1793 Philadelphia. Fans of medical and forensic media will enjoy the vivid details with which he describes the illness, resulting deaths, and disposal issues. Although it is nonfiction, Murphy has chosen his sources with such care, and woven them together with such finesse, the book reads more like an absorbing tale.

Aside from the sheer entertainment value of the book, one must also look at issues like accuracy, organization, design, and style when critiquing it. Regarding accuracy, Murphy not only lists over 90 sources he consulted when writing the book, for many of them, he also includes a paragraph summarizing their relevance to his topic. Further, Murphy's award-winning reputation as an author of historical nonfiction for children, strengthens the sense that he has presented accurate information. Finally, multiple, glowing reviews of An American Plague, published by top tier reviewers, lend credence to the notion that Murphy has offered an accurate accounting of the subject.

In terms of organization, the book begins with a Table of Contents with chapter headings. Maps are clearly labeled, and illustrations include informative captions. Although as stated above, the Sources section is very extensive, one minor disappointment is the absence of in-text citations. Should one want to learn more about a specific detail Murphy discusses, one must still hunt through the Sources section in hopes of finding the precise information sought. The thorough Index at the end should be useful to readers, as it includes names, events, and medical terms. As for the layout of the book, Murphy describes the events in chronological order, beginning with Chapter One's intriguing title, "No One Noticed," and concluding with the aforementioned "A Modern-Day Time Bomb." This makes it easy to follow the progression of the events.

An interesting inclusion in the book is Murphy's "A Note About The Illustrations," at the close. In it, Murphy laments that no one ever documented the epidemic visually. Instead, he tells us he had to rely on illustrations from Europe, which depicted similar settings and events to help tell the story about the American epidemic. Aside from this limitation in design, Murphy has done a good job of interspersing maps, drawings, and newspaper articles with the text. The text itself is broken up into easy to absorb, brief paragraphs.

Finally, regarding style, according to Sylvia Vardell (2008), "Style is what makes an informational book a work of literature and not just a book of facts." Murphy has definitely succeeded in achieving this in An American Plague. As you may note below, reviewers gush with phrases like, "lyrical tone," "laudable insight," "truly absorbing," and "a flair for weaving facts into fascinating stories." Murphy's lively, fascinating presentation of information definitely offers the reader a satisfying literary experience.

Source:
Vardell, Sylvia. 2008. Children's literature in action. Westport: Libraries Unlimited.

4. REVIEW EXCERPTS:
The Bulletin of the Center for Children's Books, Starred Review: "Laudable insight . . . Readers view the panic from several vantage points . . . allows his audience to share the contemporary complexity . . . truly absorbing."
The Horn Book: "Diverse voices . . . representative images . . . Everywhere, Murphy is attentive to telling detail . . . Thoroughly documented . . . the work is both rigorous and inviting."
Publisher's Weekly: "Leisurely, lyrical tone . . . Murphy injects the events with immediacy."
School Library Journal, Starred Review: "Solid research and a flair for weaving facts into fascinating stories . . . extensive and interesting . . . you'll have students hooked on history."

5. CONNECTIONS:
Due to the difficulty level of the vocabulary and the rather gruesome nature of the topic, this book is probably not suitable for elementary students. Aside from suggesting it to students interested in history and medical issues, it might be used:
* In conjunction with a history class studying the growing pains of our early nation and the Constitutional crisis President Washington faced as a result of the epidemic.
*In conjunction with a public health class or pre-med course at a health magnet high school.
*In conjunction with a student's independent, in-depth study for a project.
*In conjunction with a literature course analyzing the attributes of a nonfiction book recognized for its high quality, or comparing and contrasting it with a fiction book written about the same topic. In the latter case, a possible title might be the following well-researched, historical fiction novel:
Anderson, Laurie Halse. Fever 1793. ISBN 0689848919
*Finally, if a student or teacher were looking for other titles by Jim Murphy of a similar vein, they could be directed to the following:
Murphy, Jim. A young patriot: the American Revolution as experienced by one boy. ISBN 0395900190
Murphy, Jim. Across American on an emigrant train. ISBN 0395764831
Murphy, Jim. Blizzard!: the storm that changed America. ISBN 0590673106
Murphy, Jim. The great fire. ISBN 0439203074

Book Review #10: A Nonfiction Book by a Specified Author

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

(Book Cover Source: http://www.worldcat.org/oclc/35686089&referer=brief_results, accessed October 19, 2008)

BIBLIOGRAPHY:
Simon, Seymour. 1997. The brain: our nervous system. New York: Morrow Junior Books. ISBN 0688146414

2. SUMMARY:
Seymour Simon is the award-winning author of more than 250 science books for children, covering a vast range of topics. In The Brain, Simon takes an extremely complex subject and distills it down to an introductory level. Along with descriptions of the major functions of the parts of the brain and the nervous system, Simon has included interesting facts like, "A human brain is about the size of a grapefruit and weighs about three pounds when fully grown." He also writes, "The human brain is not the biggest brain among animals . . . but a human brain is the biggest compared to body size." Like most of Simon's books, the images and diagrams in The Brain are striking. Many of the 17 images were taken by scanning electron microscopes (SEMs) and offer highly magnified glimpses of the brain and nervous system most readers will have never seen before. There is no table of contents, glossary, index, bibliography, or reference to sources in the book. Rather, each page discusses a different aspect of the brain and nervous system such as nerves and how they signal, the cerebral hemispheres, reflexes, memory, etc.

3. CRITICAL ANALYSIS:
According to Sylvia Vardell (2008), "The number one criteria for quality in nonfiction writing is accuracy of information." Thus, it is a bit disappointing to find neither a bibliography, nor sources cited in The Brain. Lacking these, as Vardell suggests, "one might look to reviewers who are knowledgeable" or "the author's credentials and reputation in the field" to help determine the credibility of the information (Vardell, 2008, 253). If one explores along these lines, one learns that Simon was a science teacher for 23 years, has won several prestigious awards for his nonfiction books, and that this particular book is highly regarded by reviewers (excerpts are presented below).

In terms of organization, another disappointment is the absence of a table of contents, glossary, and index. Without the help of reference aids, if one were only interested in learning about memory for example, one would have to page through the entire book before this section would be found. Given the complex nature of the subject, the vocabulary is rather challenging. A glossary would have helped provide clarity for the many difficult words. The book does not lend itself to a read-aloud experience. Rather, this might be a useful introductory resource for a teacher, a student with an extreme interest in the brain, or a resource for a science fair project.

That being said, the design of the book makes up for many of its weaknesses. If one has the stomach for them, the images are riveting. Brightly colored, on a background of black, the photos and diagrams are the best part of the book. The layout pattern of a page of text facing a vivid image, brings both into greater focus.

In terms of style, there is nothing condescending about the text. Glial cells, dendrites, the hypothalamus and cerebellum are all described, along with how they affect everyday life. It is this last part that ultimately makes The Brain a more readable, engaging experience for youth. Explanations about how the nervous system works to quickly pull one's hand away from a hot stove, or the part of the brain that helps us throw a ball straight, make the information interesting and relevant.

Ultimately, a book like this is not for everyone. However, many readers will feel as though they have stumbled upon a gold mine - an excellent summary accompanied by amazing images. On a personal note, in my schooling to become a psychotherapist, I took courses such as Physiological Psychology, in which we had to learn all of the functions of the brain and nervous system. I would have loved to have had a book like this to supplement my learning. It condenses these difficult ideas in a helpful way, with useful examples that help one apply the knowledge, and includes images that are hard to forget.

Source:
Vardell, Sylvia. 2008. Children's literature in action. Westport: Libraries Unlimited.

4. REVIEW EXCERPTS:
Booklist: "The vivid illustrations catch the eye, but the clearly written text provides a fuller understanding of what happens in various parts of the brain and nervous system . . . Simon's way of explaining what's happening in everyday terms enhances the book's readability."
Bulletin of the Center for Children's Books: "There are some complicated concepts and terms, but they're defined with relative clarity considering their density, and there are some interesting tidbits included . . . overall this is about as entry-level as a treatment of that complicated organ is going to get. Junior MDs will appreciate the look inside."
The Horn Book: "The variety of views and the lucid presentation provide an absorbing introduction to this amazing control system."
School Library Journal: "Simon's clear, concise writing style is complemented by stunning color images."

5. CONNECTIONS:
*As Dr. Vardell suggested in the text for this class, combining this book with some of Simon's other books on human anatomy would make an excellent unit for health studies, national events such as National Health Education Week, or global events such as World Health Day.
Titles might include:
Simon, Seymour. Bones: our skeletal system. ISBN 0688177212
Simon, Seymour. The human body. ISBN 0060555416
Simon, Seymour. Lungs: Your respiratory system. ISBN 0060546549
Simon, Seymour. Muscles: our muscular system. ISBN 0688177204

*Pairing this book with poetry about the brain, thinking, learning and memory would be an enjoyable way to extend the lesson. Possible titles could include:
Vecchione, Patrice. The body eclectic: an anthology of poems. ISBN 0805069356
Wolf, Alan, and Clarke, Greg. The blood hungry spleen and other poems about our body parts. ISBN 0744585236

*Pairing this book with some of the fun and interesting books about illusions would augment a discussion about the brain and nervous system. Titles (including one by Seymour Simon) might include:
Cobb, Vicki. How to really fool yourself: illusions for all your senses. ISBN 0471315923
Seckel, Al. The ultimate book of optical illusions. ISBN 1402734042
Simon, Seymour. Now you see it, now you don't: the amazing world of optical illusions. ISBN 0688161529

Book Review #9: A Verse Novel Written by a Specified Author

1. For our ninth assignment, I chose to review the following book, which was by one of the specified verse novelists:


(Book Cover Source: http://www.worldcat.org/oclc/40619587&referer=brief_results, accessed October 12th, 2008)

BIBLIOGRAPHY:
Sones, Sonya. 1999. Stop pretending: What happened when my big sister went crazy. New York: HarperCollins Publishers. ISBN 0060283874

2. SUMMARY:
The title Stop Pretending: What happened When My Big Sister Went Crazy is in itself a brief summary of the book. When the author was 13, her 19 year old sister did, in fact, have a breakdown, was diagnosed as manic-depressive, and was hospitalized. The Stop Pretending part of the title is a reference to the conflicted feelings the author felt toward her sister at the time. Anger, shame, pain, fear, hope, denial and confusion were all churning inside of her. At one point she writes that she wants her sister to stop pretending that she doesn't know her - which encapsulates these conflicted feelings.

To cope with these tumultuous feelings, the author wrote in journals during that time. At a later point, she used those journals and her memories as a starting point for what ultimately became this verse novel, told in the first person from "Cookie's" perspective. In over 100 poems, Sones uses free verse to record the journey of her sister's descent into a nervous breakdown and ultimate return to coherence. This rocky path is punctuated by poems reflecting Sones' conflicted thoughts about the emotional unavailability of her parents, her fears that her friends will find out and reject her, her nostalgia for when things were better, her grief over the loss of her close relationship with her sister, and many other nuances of the experience. As healing slowly occurs, the author is able to begin enjoying her own life, as when she begins her first relationship with a boy. The novel closes with a final verse, celebrating that her sister is better. Following the final verse, the author has included an "Author's Note" in which she shares the autobiographical nature of the novel, how she came to write it, and a list of contact numbers for readers seeking help for themselves or a family member.

3. CRITICAL ANALYSIS:
Sones' first novel is a courageous attempt to tackle a complex, emotionally wrought subject. Topically, the poems are often wrenching, soul-bearing confessions. In "The Truth Is" she writes, "I don't want to see you./I dread it./There./I've said it." Her efforts to reassure herself that she will not turn out like her sister are poignantly defiant as she writes in the poem "You Are" - "You are crazy. I am not." When her worst fears are realized and her friends snub her at school and pass notes about her, she writes, "I hate them all." It is this candor that resonates with the reader. While their own life circumstances may be dissimilar, the young adult audience for which this book is intended will empathize with the feelings Sones is venting. The verse format aids in its accessibility by its brevity, as well as the intensity and candor with which she writes. Reluctant readers will find it fairly easy to read. Those looking for genuine, moving content will find satisfaction here.

Stylistically, there is quite a bit of variety in the poems. In the Author's Note, Sones writes that the book began as an assignment for a creative writing course in which she was asked to write a poem using falling rhythms, and "Hospitalized" was born. While the majority of the poems could be characterized as free verse, there are ample examples of rhyming, assonance, and consonance, which enrich the sound of the poems. "The Truth Is," mentioned above, is an example of the rhyming type. "Midnight Swing" includes phrases like "sweet scented pine, evergreen trees," and "midnight ice." Much of the imagery is rather ordinary. However, it serves to reinforce the sense that Cookie's world is not so different from the reader's commonplace world. Rather, it is the circumstance that has been thrust upon her that seems extraordinary. This also serves to showcase the main focus of the poems - the emotions. Rather than a clever turn of phrase or lovely image, it is the resonance of the raw expression of feelings that the reader will take away from this book, as well as the hope and peace that comes from knowing that a painful journey like this can be survived.

As a former psychotherapist, I purposefully chose this verse novel because of the topic. I confess to having concerns that mental illness might be trivialized or worse, glamorized for impressionable teens. I was relieved to find that Sones treated mental illness in a realistic way. I was even more impressed by how she candidly explored the ripple effect it has on family members and their relationships. Knowing that this was an autobiographical experience also lends authenticity to what she has portrayed. Finally, I was pleased that it ended on a positive, hopeful note, with useful information for those seeking help.

4. REVIEW EXCERPTS:
Booklist: "The poems have a cumulative emotional power that creeps up on the reader, culminating in a moving, unexpected line or phrase . . . This debut novel shows the capacity of poetry to record the personal and translate it into the universal."
Bulletin of the Center for Children's Books: "The subject is gripping and the ambivalent emotions sincere . . . but the overall effect falls short. The images are generally flat and predictable, the ironies run to cliche, and the poetry is too often prosaic."
School Library Journal: "An unpretentious, accessible book . . . the simply crafted but deeply felt poems reflect her thoughts, fears, hopes, and dreams."

5. CONNECTIONS:
*The intensely personal nature of this book, along with its unsettling subject matter call for thoughtful consideration regarding how it might be used.
- It would certainly be an excellent source for school counselors to use for teens dealing with issues of mental illness in their lives.
- It would be an excellent book for a high school psychology class to read and discuss.
- For more traditional literature courses, it could be used as a fine example of a verse novel.
- Also, many teens will relate to some of the universal feelings described within it and be able to generalize them to their own lives. If a teacher thought it would be appropriate, it might prompt a writing assignment in which students shared intense feelings from their lives in verse form.
- Finally, if one is looking for another title to shed more light on this subject for a teen seeking further information, one might suggest:
Johnson, Julie Tallard. Understanding mental illness: for teens who care about someone with mental illness. ISBN 0822595745

Book Review #8: A Poetry Book by a Specified Author

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

(Book Cover Source: http://www.worldcat.org/oclc/44732224&referer=brief_results, accessed October 12, 2008)

BIBLIOGRAPHY:
George, Kristine O'Connell. 2001. Toasting marshmallows: camping poems. Ill. by Kate Kiesler. New York: Clarion Books. ISBN 061804597

2. SUMMARY:
In Toasting Marshmallows, Kristine O'Connell George has conveyed the story of an annual family camping trip, as seen through the eyes of a young girl, in 30 brief, but insightful poems. Beginning with the tent-shaped poem, "Tent," and moving on to celebrate animals, nature scenes, and the rituals of camping like hiking, fishing, campfires, and toasting marshmallows, George has deftly captured the enchantment of the camping experience. Along with the more obvious topics, the focus often drifts toward introspection. "By Myself" highlights the joy of quietly observing nature. "The Best Path" ends with the notion that "The best paths lead you to where you didn't know you wanted to go." Several of the poems are imaginative, including such thoughts as the moon listening to their secrets, the children pretending to drive an abandoned truck home, and the lazy family dog reverting to its more primitive nature and becoming "Timber Wolf." Each poem is brought to life by Kate Kiesler's rich, acrylic illustrations.

3. CRITICAL ANALYSIS:
Although the poems are brief, George captures the essence of each topic with wit and keen observations of nature and humans. Stylistically, the poems vary. Some are enhanced by being written in a shape, like "Tent," "Eavesdropping" (written in the shape of a crescent moon) and "Storm" (written in the shape of oncoming rain). Rhyme is used sporadically throughout. Several close with the last two phrases rhyming. A few, like the title poem "Toasting Marshmallows," have several sections that rhyme. "Abandoned Cabin" is the only poem that consistently rhymes throughout. Many poems do not rhyme at all. However, the sound of the poems is enriched by other effects. Assonance is often used to good effect, as in the title poem in which she closes with phrases containing a series of short i sounds: "stick, crisp, quick, and six." Consonance is used as well, as in "Sweeps of wild mustard swinging up the hillsides." All of these effects make the poems a pleasure to read aloud.

George's word choices are also evocative. A doe "poised mid-quiver," a sleeping bag "cocoon," and a description of a moose as "an awkward scaffold halfway between a camel and a horse, with a bit too much of everything" all paint such vivid mental images, one can picture these scenes without the benefit of Kiesler's illustrations. Metaphors like "heavy black clouds rumble toward us, an oncoming train hauling a thunderous load of storm" and a "confetti of birds" also add much to enrich the imagery. Delightful examples of personification are found throughout, such as "the cave breaths icy and ancient," an "elegant crowd of Queen Anne's lace," "her chrome grille is a shy, wistful grin" and regarding a flashlight - "one wide-open eye staring back at me" - all adding to the reader's appreciation of the poems.

Finally, of particular note are the poems that close with a clever twist. From "Mosquito Song" ("Is that you, Dinner? Greeeeeeeeeetings!"), to "Rowing to the Island" ("Such hard work, pulling an island across a lake), to "Gone Fishing" ("All I caught was one little brother - hauled up out of the cattails, sputtering, soggy, and still stubborn"), each brings a smile at George's adroit observations.

For the most part, Kiesler's illustrations add to the enjoyment of the poetry. She uses a rich array of colors to paint these scenes from nature. Overall, the colors tend to be on the dark side. Thus, when a bright image appears, as in the poem "Wild Mustard," it heightens the experience. While adept at painting natural settings and animals, Kiesler is less skilled at portraying humans. Faces often take on a primitive cast that detracts from the overall effect. However, her close-up of a moose, her fog-shrouded island, and nighttime skies more than make up for that weakness. The alternating use of white space and illustrations serve to highlight each in a pleasing way. Particularly clever is the poem titled "Flashlight," in which the phrases appear in separate, circular beams of light.

4. REVIEW EXCERPTS:
Bulletin of the Center for Children's Books: "Though more plainspoken than lyrical, this is nonetheless an effectively atmospheric verse series that could serve as both camping introduction and memento."
Horn Book Guide: "The pleasure and surprise of going camping are conveyed in thirty brief poems . . . Richly colored paintings enhance the verses."
School Library Journal: "George has captured 30 sublimely simple poems that capture the sights, sounds, smells, and sensations of a family's camping trip . . . The poems are varied and inventive, replete with marvelous images and universal truths."

5. CONNECTIONS:
*The school setting includes children who have grown up camping, along with those who have never had this experience. This book would be a delightful way to introduce the experience to those who have never gone, and to prompt reminiscing from those who have. One of the strengths of this book is the way George blends simple language with evocative, descriptive words. It would definitely serve to enhance children's vocabularies, along with their understanding of the nuances of many of these events and scenes.
*One could also expand the poetry experience by pairing this book with other nature poetry titles by George, or with other books about camping.
Other nature titles by George could include:
George, Kristine O'Connell. Hummingbird nest: a journal of poems. ISBN 0152023259
George, Kristine O'Connell. Old elm speaks: tree poems. ISBN 0395876117
George, Kristine O'Connell. The great frog race and other poems. ISBN 0618604782

Possible camping titles could include:
Henkes, Kevin. Bailey goes camping. ISBN 0688152880
James, Helen Foster. S is for s'mores: a camping alphabet. ISBN 1585363022
Mayer, Mercer. Camping out. ISBN 1577688066
Ruurs, Margriet. When we go camping. ISBN 0887766854

Book Review #7: A Poetry Book by a Specified Author

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

(Book Cover Source: http://www.worldcat.org/oclc/26552999&referer=brief_results, accessed October 5, 2008)

BIBLIOGRAPHY:
Prelutsky, Jack. 1993. The dragons are singing tonight. Ill. by Peter Sis. New York: Greenwillow Books. ISBN 068809645

2. SUMMARY
Jack Prelutsky, is the author of more than 50 well-loved poetry books for children, and in 2006, was named by the Poetry Foundation as the first Children's Poet Laureate of the United States. In 1993, Prelutsky turned his attention to the subject of dragons with The Dragons Are Singing Tonight. The book contains 17 poems, ranging from brief, four-line verses to longer, full-page accounts of the exploits of such diverse dragons as a mechanical dragon, a thunder dragon, a secret dragon, and one that resides in a computer. Some of the poems are whimsical, some are poignant, and some are scary. All are written with pronounced rhythm and rhyme. Many have surprising endings - as in how an ill dragon is cured, or a nasty little dragon that turns out to be a half-inch high. Each poem is presented on a two-page spread, illustrated by award-winning artist Peter Sis. The book opens with a table of contents and closes with brief biographies of Prelutsky and Sis.

3. CRITICAL ANALYSIS:
If one is familiar with Prelutsky's clever, silly, and often insightful style of poetry, than one turns with anticipation to what he will have to say on the fanciful topic of dragons. For the most part, he does not disappoint.

Several of the poems are extremely satisfying on every level. Whimsical in topic, tight in rhythm and rhyme, filled with evocative language, rich imagery, and closing with an unexpected twist, these poems leave the reader grinning and bemused. Examples include "I Wish I Had a Dragon"(an imaginative list of dragon qualities sought by a person whom we find out in the last line is the owner of a lazy dragon who sleeps all day), "Nasty Little Dragonsong" (a delightful list of descriptors, culminating with the discovery that the nasty little dragon is only a half-inch high), "My Dragon Wasn't Feeling Good" (the cure for this ill dragon is priceless), and "My Dragon's Been Disconsolate" (where the reader learns the dragon, " . . . cannot help but pout, since he defied a thunderstorm that put his fire out.")

Like the word "disconsolate" mentioned above, the poems are filled with marvelously rich words like "malevolent," "disparage," "cacophonous," and "obeisance." While this makes the reading level extremely difficult for younger children, it offers a wonderful opportunity for adults to share the poems and expand children's vocabularies.

Prelutsky also uses alliteration in the poems to good effect. "To sing in cacophonous chorus," and "fangs finely fashioned to pierce" are examples of this. He also uses assonance as well. "Fishes shiver in the ocean," and "It hisses and spits little fires" are examples of his use of assonance.

While all of the poems in the book are written with pleasing rhythm and rhyme, many of them suffer in comparison to those mentioned above. For readers who have come to expect a clever twist at the end of Prelutsky's poems, there is a sense of disappointment when it is not found in several of the poems. Some of the poems with a clever twist at the end are missing the evocative imagery. An example is the brief poem: "If you don't believe in dragons, it is curiously true, that the dragons you disparage choose to not believe in you."

If the reader is expecting all of the poems to reflect Prelutsky's funny style, the melancholy poems might come as a surprise. However, poignant poems such as "I Am My Master's Dragon," "A Dragon's Lament," and "Once They All Believed In Dragons," when juxtaposed with the humorous poems Prelutsky is known for, actually resonate more deeply as one reflects upon the insightful premises behind them. The scary poems such as "I Am An Amiable Dragon" ("You are free to pass unchallenged - but only if you dare!") and "I Am Boom!" (about a thunder dragon, and filled with repetitive phrases that get louder and louder) are more entertaining than scary. Finally, a few of the poems are rather ho hum. While whimsical, "I Have A Secret Dragon" holds none of the cleverness one has come to expect from Prelutsky. "I Am Waiting Waiting Waiting" (about a child waiting for a dragon egg to hatch) left this reader waiting for the poem to be over!

The illustrations by Peter Sis are unusual in that he used oil and gouache (opaque watercolors) over a gesso background (a technique which yields a brittle canvas susceptible to cracking), and surrounded the images with a gold frame, leaving the reader with the impression one was viewing an Old World painting. Colors are rather subdued, with each illustration predominately painted with a few select colors. Even the images for the modern topics are restrained, as in the poems "I Made A Mechanical Dragon" and "A Dragon Is In My Computer." Many of the paintings are extremely detailed, with each individual, tiny dragon scale, or brick in a building, depicted. Yet at the same time, the dragon's themselves are rather simplistic when compared to other artists' renderings of dragons. Occasionally, Sis is extremely clever, as when he subtly turns the hills and valleys above a castle into the shape of a lurking dragon in "Once They All Believed In Dragons."

As for my personal reaction, it is mixed. My daughter has been crazy about dragons since she was small. I bought a copy of this book for her when it was published. We both delighted in several of the poems, and came to skip over the less-than-satisfying ones on subsequent readings. She is passionate about art and has collected all types of dragon illustrations over the years. Thus, perhaps it is not fair that I find the illustrations in this book lacking in comparison to some of the amazing, fantasy dragons I have seen (and that my own child has drawn as an art major in college). Still, overall, if one is a dragon-lover, one can't help but smile at the clever and fanciful ways Prelutsky has depicted them.

4. REVIEW EXCERPTS AND AWARDS:
ALA Booklist Editors' Choice Award
Horn Book Fanfare Award
Booklist: "There's a 'just right' quality to the verse that makes it a pleasure to read aloud. Because it appeals on so many levels, this is one poetry book that won't sit on the shelf for long."
Christian Science Monitor: "These engaging, funny, and touching poems will delight readers with rhyme, rhythm, and wonderful words."
School Library Journal: "Although not all of the entries have Prelutsky's rollicking read-aloud quality, the richness of his language and the playfulness of the imagination are abundant; and Sis's illustrations are charmingly unique, sometimes deceptively simple, and certainly filled with the kind of playful wizardry that invites viewers to return again and again to these pages."

5. CONNECTIONS:
*As stated above, this book is probably more appropriate for older children and adults who can read it to younger children. That being said, it could serve as an excellent resource for launching a poetry discussion. One could focus on Prelutsky's work by pairing it with some of his other poetry titles such as:
Prelutsky, Jack. Gargoyles on the roof. ISBN 0688096433
Prelutsky, Jack. Scranimals. ISBN 0688178197
Prelutsky, Jack. For laughing out loud: Poems to tickle your funnybone. ISBN 0394821440

*One could also pair this with other poems about dragons such as:
Demarest, Chris L. I invited a dragon to dinner: And other poems to make you laugh out loud. ISBN 0399235671
Foster, John. Castle poems/Dragon poems. ISBN 1596466154
Foster, John, and Paul, Korky. Dragon poems. ISBN 0192763075