Culture 5: Asian Pacific American Literature – Yangsook Choi

BIBLIOGRAPHIC DATA:

Choi, Yangsook. 2001. THE NAME JAR. New York: Alfred A. Knopf. ISBN 0375906134

PLOT SUMMARY:

When Unhei moves from Korea to America with her family, she is both nervous and excited about being in a new country. Unhei quickly becomes worried and embarrassed about her Korean name, though, as some children on the school bus have a hard time pronouncing her name and tease her about it. Unhei decides that she wants to have her own American name, despite some adults in her life reminding her of the special meaning and uniqueness of her name. The children in Unhei’s class give her a glass jar with a variety of names in it in an attempt to help her choose an American name. One student in Unhei’s class, Joey, makes a special effort to befriend Unhei, and she ends up showing him what her name is using a special name stamp that was given to her by her grandmother before she left Korea. Joey quickly learns to pronounce Unhei’s name perfectly, and he secretly takes the name jar off her desk in the hopes that she will keep her own Korean name. Joey’s plan works, and Unhei introduces herself to the class and explains the meaning behind her Korean name. In the end, Joey reveals his reasons for taking the name jar, and he even shows Unhei the name stamp he had made with his own Korean nickname, which means “friend.”

CRITICAL ANALYSIS:

Unhei’s character is endearing and easily likeable, and her character also serves as an important cultural marker for the story. Unhei embodies the nervousness and excitement that a young child might feel as an immigrant to a new country. Like many immigrants, she is conflicted about wanting to fit in with the new country’s culture while still maintaining the culture she was born into. Young readers will sympathize with Unhei, and hopefully, this story will help all children see that being different can be a good thing.

Names are clearly a central theme to the story, and they serve as cultural markers as well. Unhei’s Korean name is unique, but it is a source of embarrassment to her at first as she adjusts to life in America. Although Unhei’s classmates give her a variety of American names to choose from, Unhei eventually embraces her own name as she learns to balance Korean culture with American culture. The story addresses the fact that many Korean names have meanings, and Unhei means “grace.” The custom of going to a “name master” to select a name is also mentioned, giving students insight into this tradition.

Unhei’s name stamp is also significant to the story, highlighting another cultural custom and introducing young readers to the unique nature of written Korean characters and language. Young readers will love looking at the beautiful imprints made by Unhei’s and Joey’s name stamps, and this name step ultimately helps Unhei become comfortable with her Korean name.

Though Choi does not specify any particular American city for the setting, Unhei’s new American neighborhood is still critical to the story as she adjusts to life away from Korea. In the beginning, Unhei sees “strange buildings and houses” in her neighborhood, but she quickly finds Kim’s Market where she is reminded of her old neighborhood in Korea. It is in Kim’s Market where Unhei’s mother finds Korean foods her family is used to eating, such as “kimchi” (Korean-style spicy pickled cabbage) and seaweed for soup. Kim’s Market is also where Unhei meets Mr. Kim, who welcomes Unhei to the neighborhood and reminds of her what a beautiful and meaningful name she has.

Choi’s warm and lively illustrations will catch young readers’ attention, and they add to the cultural authenticity of the story. This story makes an excellent read aloud, and the beautiful illustrations will certainly engage listeners as the story unfolds. Choi skillfully depicts accurate skin tones and hair colors throughout the story to enhance the book’s cultural accuracy. This story carefully balances important cultural details with the universal theme of children wanting to fit in, making it an excellent selection for story time.

REVIEW EXCERPTS:

From SCHOOL LIBRARY JOURNAL (2001):
“The round, red imprint of the Korean character for Unhei's name provides the graphic manifestation of the story's theme. Attractive golden endpapers feature random repetitions of the stamp imprint interspersed with her classmates' handwritten suggestions on scraps of torn paper. The bold, bright paintings that illustrate the story are realistic, warm, and appealing.”

From BOOKLIST (2001):
“Unhei has just come with her family from Korea and is starting school. Her name is pronounced Yoon-hye, which means grace, but she feels awkward about it after some teasing on the school bus. She decides to choose an American name, and her classmates oblige her by filling a glass jar with their suggestions. Her mother reminds her that she and her grandmother went to a name master for Unhei's name, and Unhei practices stamping her name with the beautiful name stamp her grandmother gave her. Finally, Unhei decides to keep her own name, and one of her classmates even has a stamp made for himself with the Korean characters for friend. The paintings are mostly in gold and earth tones, and the figures have both stature and simplicity--as does the story.”

CONNECTIONS:

On the back jacket flap of the book, it says, “Yangsook Choi chose the name Rachel when she left her native Korea to come to the United States in 1991 and will happily answer to either name.” Share this fact with students and ask them why they think the author chose the name Rachel when she came to America.

In this story, a young boy, Joey, makes a special effort to befriend Unhei and helps her become comfortable with her name by getting his own Korean name stamp. Discuss with students the importance of welcoming new students and helping people from other countries feel welcome. Brainstorm ways to befriend new students as well as ways to befriend children from other countries.

Yangsook Choi has an interesting website that can be shared with students: http://www.yangsookchoi.com/. Students may be particularly interested in reading about her other books in the “Books” section and viewing her spectacular drawings and paintings in the “Portfolio” section of the website.

Culture 5: Asian Pacific American Literature - Laurence Yep

BIBLIOGRAPHIC DATA:

Yep, Laurence. 2006. THE EARTH DRAGON AWAKES: THE SAN FRANCISCO EARTHQUAKE OF 1906. New York: HarperCollins. ISBN 9780060275242

PLOT SUMMARY:

This is the story of the devastating and tragic San Francisco earthquake of 1906 as seen from the eyes of two young boys, Henry and Chin. Chin and his father are Chinese immigrants, and Chin’s father works as a “houseboy” for the Travis family. Chin and the Travis’s son, Henry, are close in age and strike up a friendship. Although the boys are from different backgrounds, they have a lot in common and become great friends. All is well until the “Earth Dragon” awakes, unleashing a destructive earthquake that reveals some unlikely heroes. As the boys and their families fight to survive, the boys grow even closer and realize how courageous their fathers are and what is truly important in life.

CRITICAL ANALYSIS:

The story takes place in San Francisco and Chinatown in the year 1906. The setting is significant to the story’s plot because it provides the historical backdrop of the actual San Francisco earthquake of 1906. In addition, the setting provides some major cultural markers for the story as Yep describes and contrasts Chinatown with an actual Chinese village. Through Chin’s eyes, Yep notes that Chinatown is comprised of taller buildings and there are “no tiled roofs or carved windows” like in China. Chin says, “The American buildings look like they are wearing Chinese disguises.” These descriptions and comparisons are important because they touch upon the blending of Chinese and American cultures that many Chinese immigrants face.

The characters and their personal situations in THE EARTH DRAGON AWAKES also serve as significant cultural markers, and Chin and his father, Ah-Sing, add authenticity to the story. Chin’s father is a “houseboy” to a white family, and Chin helps his father out at work. Chin’s father came to America since he could make more money in America than in China, and he sends money back home to China for Chin’s mother and the rest of the family. This arrangement is difficult for Chin and Ah-Sing at times since they miss the rest of the family and China. Although Chin and Ah-Sing could live with the Travis family, they live in Chinatown instead because Ah-Sing “doesn’t want Chin to forget he’s Chinese.” Readers will sympathize with Chin and Ah-Sing, and Yep presents the situation of these characters in a way that will help readers understand the struggles faced by some immigrants.

Language is another cultural marker for the story. The author refers to the fact that although many immigrants in Chinatown come from China, they do not all speak the same dialect. Yep also makes a reference to Chinese words being characters based on pictures, giving young readers insight into the Chinese language.

Some Chinese beliefs and folklore are also touched upon briefly in this story. The title of the story, THE EARTH DRAGON AWAKES, emphasizes the significance of the many references in the story to the “Earth Dragon” that is believed to be angered and shakes the city through an earthquake as a result.

There are several interesting themes interwoven throughout the story that will captivate readers. For example, the idea of unlikely heroes plays a major role in the story. Chin and Henry read comic books and idolize only fictional heroes until they realize that their parents are heroes after the earthquake tragedy. The tragedy brings out the best in some, and it also unfortunately brings out the worst in others. Racism is also touched upon as the Chinese are not allowed to live in the camps next to the white people after the earthquake. Also, the Chinese had a difficult time returning to their homes after the earthquake since some people wanted them to rebuild Chinatown elsewhere.

Yep includes extensive descriptions of the actual earthquake and the resulting fires, and the destruction and devastation are explored through the eyes of the characters. A spectacular afterword includes factual information on the earthquake as well as actual photographs, suggested additional reading, and a list of websites. THE EARTH DRAGON AWAKES is an interesting look at an actual historical tragedy through two young boys’ eyes. The boys are from different worlds, yet they are friends and have a lot in common. This story includes the great messages of friendship, bravery, hope, and rebuilding, and younger elementary students who are ready for chapter books and adults alike will enjoy this story.

REVIEW EXCERPTS:

From BOOKLIST (March 2006):
“In the midst of catastrophe, the boys realize that their fathers are real-life heroes. Henry and Chin's stories are told in alternating chapters with a few interruptions for the insertion of earthquake information. Told in the present tense, the narration provides a "you are there"sense of immediacy and will appeal to readers who enjoy action-packed survival stories.”

From HORN BOOK (July/August 2006):
“Alternating the story of two fictional families with short segments of factual information, Yep creates a frightening sense of immediacy in this docudrama about San Francisco's destruction in the 1906 earthquake and ensuing firestorm…Yep uses the growing friendship between the two boys to underscore pointed discussions of race relations at the time, which works well for the most part.”

From LIBRARY MEDIA CONNECTION (January 2007):
“Each chapter is marked with the time, date, and location so readers can follow the boys' alternating perspectives. Some chapters present facts about such things as how the earthquake begins and how and where the fires start. These factual chapters flow seamlessly with the rest of the novel and provide much needed background information. The afterword includes Yep's personal connection to the subject, sources for further reading, and photographs. Young readers will find the story engaging and the disaster fascinating, and they will breathe a sigh of relief when the two friends are reunited.”

CONNECTIONS:

Texas Bluebonnet Award nominee 2007-2008

Definitely share the factual afterword with students since they will appreciate seeing the actual photographs showing how powerful the earthquake actually was. Also included in the afterword is a link to the city of San Francisco’s Museum: http://www.sfmuseum.org/. This website includes more detailed information about the earthquake and fire that students might be interested in exploring.

This story might lead to an interesting discussion of heroes and what makes a person a hero. The comparison between the fictional heroes of the comic books read by Chin and Henry and the heroic actions of their fathers following the earthquake can open up the discussion of what makes a hero a hero.

Culture 5: Asian Pacific American Literature - Allen Say

BIBLIOGRAPHIC DATA:

Say, Allen. 1999. TEA WITH MILK. New York: Houghton Mifflin Company. ISBN 0395904951

PLOT SUMMARY:

In this beautiful and touching story, Allen Say cleverly unfolds the story of his own mother. As the young child of Japanese immigrants, Masako (or May) felt comfortable living in America. When Masako graduated from high school, her parents grew homesick and decided to return to Japan. Devastated at leaving the only home she has ever known, Masako struggles greatly to find her place in Japan and grows very unhappy. Overwhelmed by her sadness and frustrations, Masako takes a bus to Osaka and ends up taking a job in a department store in the marvelous and bustling Japanese city. Masako is persistent and works hard, and she ends up being promoted from an elevator girl to the store’s guide for foreign businessmen. It is in this role that she meets a friend, Joseph, who teaches her that a home is not necessarily a place but a life that one builds. When Joseph’s job transfers him to Yokohama, Masako goes with him. They make a home together there, and the author says, “I was their first child.”

CRITICAL ANALYSIS:

This story centers around the character of Masako, and her character serves as a significant cultural marker for the story. Masako’s name reflects aspects of her cultural identity as her name shifts from Masako to Ma-chan (a nickname given to her by her parents) to May. In America, Masako prefers to be called May, signaling her American identity. In Japan, she is called her proper name, Masako, signaling her Japanese identity. In the end, she goes by Masako in Yokohama, except by her husband, who still reminds her of some of her American cultural characteristics by calling her May. Masako’s desire to live in America is also significant to the story, revealing the conflict she feels about her cultural identity as she is forced to return to Japan.

The story takes place in two different countries, America and Japan. The setting is significant because Masako’s change of locations and cultures has a profound impact on her. Eventually, Masako comes to realize that her location does not matter as much as the idea of building a “home” with people and things you love.

Food is another important cultural marker, and Say does an excellent job of contrasting the foods consistent with American culture with the foods consistent with Japanese culture. In fact, the title of the story, TEA WITH MILK, draws readers’ attention to Masako’s desire to drink “tea with milk and sugar” and be a part of American culture. In contrast to the pancakes, omelets, fried chicken, and spaghetti that Masako had grown accustomed to in America, her parents were still accustomed to traditional Japanese foods such as “rice and miso soup and plain green tea.”

Language also reflects Masako’s combination of cultural identities, and she must attend high school all over again once she gets to Japan to learn her own language. As a fluent English speaker, Masako is frustrated by this and is conflicted about having to learn Japanese when the other students in Japan are learning English. Her separation from others in Japan is so extensive that the other students call her “gaijin,” which means foreigner. Eventually, her fluency in English lands her a job as a store’s guide for foreign businessmen, though, and English is the language she uses to communicate with Joseph, her husband. Interestingly, at the end of the story, the author mentions that Masako always spoke Japanese to him when he was a child, revealing her ability to utilize both American and Japanese cultures and languages.

Clothing also presents readers with a cultural marker as Masako transitions from wearing American clothes, such as a bright dress she had bought in California, to traditional Japanese clothing, such as a kimono. Similarly, the Japanese custom of sitting on the floor for extended periods of time is mentioned, and Say states that Masako “never got used to sitting on the floor for very long.”

Say’s realistic illustrations add another dimension of authenticity to the story, following Masako as she struggles to find her place among the American and Japanese cultures. Say’s depictions are accurate, and he pays close to attention to details such as skin tone, hair, and clothing styles in order to add a realistic quality to the illustrations.

TEA WITH MILK offers readers a touching look at the struggles of one woman to find out where she belongs between two different cultures. Say does an outstanding job of infusing the story with rich cultural details in order to draw the reader into Masako’s plight as she struggles with balancing her American identity with her Japanese identity. Say uses the cultural elements of names, food, clothing, language, and setting to draw a contrast between Masako’s life as an American and her life in Japan. In the end, Masako strikes a balance between the two cultures and establishes a “home” with Joseph and her children in Yokohama. TEA WITH MILK is an outstanding multicultural selection that students of all ages will enjoy.

REVIEW EXCERPTS:

From HORN BOOK starred (Fall 1999):”Continuing to explore place and home, Say tells the story of his mother, first introduced to readers in Tree of Cranes. Born in California to Japanese immigrants, Masako is miserable when she moves to Japan with her parents after high school. The illustrations capture Masako's unhappiness and also her eventual contentment as she learns to combine two cultures.”

From KIRKUS REVIEW (1999):
“In describing how his parents met, Say continues to explore the ways that differing cultures can harmonize…Painted with characteristic control and restraint, Say's illustrations, largely portraits, begin with a sepia view of a sullen child in a kimono, gradually take on distinct, subdued color, and end with a formal shot of the smiling young couple in Western dress.”

From SCHOOL LIBRARY JOURNAL (December 1999):
”When her Japanese-born parents leave America for their homeland, an independent girl reluctantly follows and melds her experience and her heritage to find a new meaning for the word "home." This perfect marriage of artwork and text offers readers a window into a different place and time.”

CONNECTIONS:

If students enjoy TEA WITH MILK, introduce them to some of Say’s other books that explore family themes, cultural identity themes, and immigration themes, such as TREE OF CRANES and GRANDFATHER’S JOURNEY.

This story makes a great read aloud. Make some tea with milk and sugar for students to sip on while you read.

Ask students to discuss why they think Masako was so upset about having to return to Japan. Ask students how they would feel if they had grown up in America and then had to move to another country with their parents. Then ask students to consider how children born in other countries might feel when they move to America. Point out to students that balancing two cultures might be difficult for some people.

Culture 4: Native American Literature – Gayle Ross

BIBLIOGRAPHIC DATA:

Ross, Gayle. 1996. THE LEGEND OF THE WINDIGO: A TALE FROM NATIVE NORTH AMERICA. Paintings by Murv Jacob. New York: Dial Books for Young Readers. ISBN 0803718985

PLOT SUMMARY:

In an ancient village deep in the forests of the North Woodlands, fear spread as people began mysteriously disappearing. The people realized that a Windigo, a giant creature made of stones that hypnotizes people with his eyes and eats them, had moved into the woods around their village. The people did not want to leave the land they loved, so they began to seek the guidance of the “spirit protectors of their land.” The elders of the village used hot stones to create purifying steam as they prayed and sang, and a young boy discovered that one of the stones cracked and broke open from the heat of the fire. This gave him the idea to set a trap for the Windigo to destroy him with fire. The plan worked, but as the stone creature was burning and breaking, he exclaimed that he would haunt the land forever and continue eating the people for many more generations. The Windigo kept his promise by transforming into mosquitoes that eat the people of the land one tiny bite at a time.

CRITICAL ANALYSIS:

This story takes place “long ago, deep in the forests of the North Woodlands.” The eerie plot and fast action will easily grab young readers’ attention, and children will remember the frightening Windigo the next time they are sitting around a campfire or hiking through the woods. The clever plan to get rid of the Windigo will resonate with children, and the surprising conclusion that takes place after the Windigo has burned will certainly engage children and appeal to their imaginations.

Ross’s word choice attempts to set the mood of the story as a Native American tale. For example, Ross uses words and phrases such as “warrior,” “elders,” and “ceremony” to give the reader a clearer understanding of the context of the story. Ross also mentions using buffalo hides to cover the frame of the sweat lodge, lighting a sacred fire, and seeking “the help and guidance of the spirit protectors of their land.” While it is not clear which specific culture the tale is referring to, the clues Ross gives lead the reader to understand that this is a type of Native American tale.

While this story does not explicitly state which specific Native American culture it comes from, an author’s note at the end of the book does explain the author’s reasons for creating the story and offers some cultural insights into “Native American” stories in general. When discussing the roots of this story, Ross states, “Though it is based on several stories told by tribes in the north, from the Tlingit of Northwest Canada to the Cree of the Eastern Woodlands, this version is essentially my own creation.” Furthermore, she adds, “There is really no such thing as a ‘Native American’ story. The stories, like the people, belong to many tribes, many nations.” Ross also acknowledges some of the traditional stories that helped her create THE LEGEND OF THE WINDIGO. Also included in the author’s note is an explanation of why the sweat lodge ceremony in the story is vaguely described. Ross explains that because the ceremonies vary from tribe to tribe and “because many traditional peoples are very protective of their own rituals, the ceremony depicted here does not represent the specific spiritual tradition of any one tribe.”

Murv Jacob’s paintings are incredible and add to the richness of the story. The dark, earthy colors, bright contrasts, and tiny details combine to create gorgeous and fascinating artwork that tells the story of the Windigo in a spellbinding way. The skin tones and hair colors depicted in Jacob’s paintings seem as authentic as possible for the type of paintings he created for the story. The paintings show the men, women, and children of the village dressed in traditional clothing that one might associate with an ancient Native American tribe. Again, because the tale does not represent one specific culture, it is difficult to determine the cultural accuracy of details such as clothing and homes. The Windigo is portrayed as a strange creature with dark, flowing hair, black holes for eyes, a skull and bones necklace, and small colorful dots all over his body. Children will certainly enjoy seeing the paintings of the scary creature.

The engaging plot and scary undertones of THE LEGEND OF THE WINDIGO make it an appealing story that children will probably enjoy. The beautiful paintings also add to the story and will captivate children’s attention. While the story is at least based in part on some traditional Native American stories, the cultural authenticity of the story is difficult to pinpoint because of the generalities used throughout the story. The author does address reasons for the tale not depicting one specific culture in the author’s note at the back of the book, and it would be important to share this note with children to help them understand the generalities used throughout the story.

REVIEW EXCERPTS:

From HORN BOOK (March 1997):
“The author and illustrator of How Turtle's Back Was Cracked (Dial) and How Rabbit Tricked Otter (Harper) retell a pourquoi story about the origin of mosquitoes. The acrylic paintings match the text's description of the fearsome Windigo and also aptly capture the story's humorous conclusion. The lengthy author's note at the back provides a wealth of information.”

From KIRKUS REVIEW (1996):”Ross demonstrates her colorful storytelling in a suspenseful tale about the Windigo, a giant stone creature who is "taller than the tallest tree," can "change his shape at will," and "feeds on the people." When people begin to disappear, the Windigo is near. A young boy inspires the people to outwit the flesh-eating Windigo and reclaim their land; this gripping tale captures the imagination from the outset and quickly moves to a dramatic and surprising conclusion that is similar to that of The Windigo's Return (p. 1057) by Douglas Wood. Jacob conjures up appropriately spooky images rendered in deep-toned acrylics. Swirling skies and verdant forests dance around the people in a primitivist style, perfectly partnered with the pace and voice of the storyteller.”

CONNECTIONS:

Definitely read the author’s note at the end of the story with children and discuss Ross’s reasons for creating her own version of the tale as well as her reasons for not focusing on a specific culture. It might be important to help young children understand that there are many different Native American cultures and that they are not all the same.

Young children might enjoy drawing their own versions of the Windigo. Remind them that the Windigo is believed to be able to change his shape at will, and encourage them to be creative with how they depict the Windigo.

In her author’s note, Ross mentions AMERICAN INDIAN MYTHS AND LEGENDS edited by Richard Erdoes and Alfonso Ortiz and FAVORITE FOLKTALES FROM AROUND THE WORLD edited by Jane Yolen. Encourage students to check these books out and read more about the Windigo and the legend of how mosquitoes came to be.

Culture 4: Native American Literature - Cynthia Leitich Smith

BIBLIOGRAPHIC DATA:

Smith, Cynthia Leitich. 2000. JINGLE DANCER. Ill. by Cornelius Van Wright and Ying-Hwa Hu. New York: Morrow Junior Books. ISBN 0688162428

PLOT SUMMARY:

Young Jenna daydreams of one day dancing with jingles on her dress at powwow like her Grandma Wolfe. When Jenna tells Grandma Wolfe that she wants to jingle dance, Grandma Wolfe tells her that she can dance without the jingles since there is not enough to time to order jingles before the upcoming powwow. Determined to make her dress “sing,” Jenna sets off to find her four rows of jingles. As Jenna visits several women in her family, she borrows just enough jingles from each woman so that their dresses would not lose their voices by giving up some of the jingles. After helping Grandma Wolfe sew the jingles onto her dress and practicing her “bounce-steps,” Jenna is finally able to jingle dance at the powwow for all of the women who helped give her dress its voice.

CRITICAL ANALYSIS:

JINGLE DANCER takes place in modern times in Oklahoma. An extensive author’s note gives readers significant background information for the story and reveals many important cultural markers for the story. For example, the author’s note reveals that Jenna is a member of the Muscogee (Creek) Nation and is also of Ojibway (Chippewa/Anishinabe) descent. Jenna’s cultural heritage shapes the plot of the story as she sets out to find jingles to add to her dress to make it “sing” for the upcoming powwow. The author’s note also reveals the use of the number four in JINGLE DANCER (four rows of jingles, four women donating jingles, four directions of Jenna’s travel) and significance of the number four among many Native people (“the four directions, four seasons, four stages of life, and four colors of man”).

The characters are warm and inviting, and they give readers a good look at Jenna’s sense of family and community. Every home Jenna visits as she sets off to collect jingles introduces another female friend or family member. The compassion and friendliness shown to Jenna by these women gives readers a sense of community, and Jenna completes the circle of community by dancing her jingle dance for all of the women who helped her dress “sing.” Young readers will see themselves in Jenna as she works to make her dream come true, and they will also learn about Jenna’s culture through her actions in the story. Food is also a significant cultural marker for the characters in the story as “fry bread” and “Indian tacos” are mentioned.

Cynthia Leitich Smith uses beautiful, poetic language to tell Jenna’s tale, giving the story a folktale feel. For example, Smith states, “Every Grandma bounce-step brought clattering tinks as light blurred silver against jingles of tin.” Smith’s distinctive word choice and poetic language bring the story to life and enrich the unique feel of the story. Smith also imitates sounds frequently throughout the story, such as the “tink, tink, tink, tink” of the jingles and the “brum, brum, brum, brum” of the powwow drum, accentuating important sounds for Jenna’s cultural tradition.

The warm and realistic illustrations match the language of the story and give readers a lovely look at Jenna’s culture. The depictions of the traditional dresses and shoes are beautiful, and the balance of modern clothing, such as Jenna’s jeans and Cousin Elizabeth’s business suit, solidifies readers’ understanding of Jenna’s contemporary American Indian lifestyle. Furthermore, illustrations of modern homes with televisions will show young readers how much they have in common with Jenna. Wright and Hu do an excellent job of carefully illustrating skin tones and hair colors to maintain cultural accuracy.

JINGLE DANCER is a fantastic story to share with children, and it is steeped in rich cultural details that make it a superb multicultural selection. A small glossary at the back of the book will also help clarify the meanings of some of the words used throughout the story.

REVIEW EXCERPTS:

From BOOKLIST (May 2000):
”This contemporary Native American tale highlights the importance of family and community through a young girl's dream of joining the dancers at the next powwow. Jenna is a girl of Muscogee (Creek) and Ojibway (Chippewa/Anishinabe) descent… The way Jenna gathers her jingles (borrowing enough to make a row, but not so many that the lender's dress will "lose its voice"), and her promise to dance for the women who cannot dance for themselves illustrate the importance of family and community ties. The colorful, well-executed watercolor illustrations lend warmth to the story. A note explaining Jenna's heritage and a brief glossary are appended.”

From SCHOOL LIBRARY JOURNAL (July 2000):
“Seeing Jenna as both a modern girl in the suburban homes of her intertribal community and as one of many traditionally costumed participants at the powwow will give some readers a new view of a contemporary Native American way of life. An author's note and glossary tell more about the Muscogee (Creek) Nation, the Ojibway origins of jingle dancing, and the significance of the number four in Native American tradition. This picture book will not only satisfy a need for materials on Native American customs, but will also be a welcome addition to stories about traditions passed down by the women of a culture.”

CONNECTIONS:

After reading JINGLE DANCER, be sure to share the author’s note at the end with children. Cynthia Leitich Smith gives a multitude of cultural facts in the author’s note, and sharing this information with children can be a fun and educational way to learn about another culture.

In JINGLE DANCER, jingle dancing at the powwow is a family tradition for Jenna. Encourage students to think about and possibly discuss some of their own family traditions.

Visit Cynthia Leitich Smith’s website at http://www.cynthialeitichsmith.com/.

Students might be interested in learning more about jingle dances. Assist them with researching more about this fascinating cultural tradition. If someone in the community has first-hand experience with this tradition, invite him or her to the school to share his or her story.

Culture 4: Native American Literature - Joseph Bruchac

BIBLIOGRAPHIC DATA:

Bruchac, Joseph. 2001. SKELETON MAN. New York: HarperCollins. ISBN 0060290765

PLOT SUMMARY:

When sixth grader Molly realizes that her parents have mysteriously disappeared, she is desperate to find out what happened to them. Molly’s desperation intensifies when Social Services turn her over to the care of a frightening stranger who claims to be Molly’s long lost uncle. Locked alone in a room in her supposed uncle’s house each night, Molly finds herself trapped in a nightmare that she is not sure she can escape. However, Molly finds the answers she is looking for as well as a way out of her frightening situation by trusting her dreams and remembering lessons from old Mohawk stories her parents used to tell her.

CRITICAL ANALYSIS:

The characters of the story are intriguing and give the reader insight into the Mohawk culture. Molly and her parents belong to the Mohawk culture, and their characters portray contemporary American Indians living in modern times but still honoring their heritage and traditional culture. Molly is a sixth grade girl who is known as melodramatic to some, but she is also smart and courageous, making her a good heroine and role model for girls everywhere. Molly seems very real to the reader, and Bruchac does a good job of enabling the reader to visualize her by clearly describing her physical attributes. For example, Molly considers her “thick eyebrows” and “ink-black hair” in the story. Bruchac ties these physical descriptions into the cultural accuracy of the story, such as when Molly thinks about the “brown tone” of her dad’s skin. Furthermore, in her dreams, Molly is often dressed more traditionally in deerskin dress, moccasins, and a braided rawhide bracelet believed to help children wake safely from their dreams. In contrast to Molly’s realness, Molly’s uncle seems unreal, like a ghost or a monster to Molly, and he portrays many similarities to the “Skeleton Man” in the story Molly remembers her father telling her.

At the beginning of the story, Bruchac acknowledges the “tradition bearers” and “traditional American Indian stories,” informing the reader of the cultural foundation of the story. Traditional Mohawk tales and customs play a significant role in the story, especially the tale of the “Skeleton Man.” In this story, a greedy and lazy uncle does not want to go out to find his own food, so he ends up eating his own flesh and the flesh of his relatives as well. When a young girl discovers this, she relies on a rabbit to save her from the “Skeleton Man” and return her family back to their normal selves. This tale directly parallels Molly’s plight in her uncle’s house, and Molly’s dreams and memories of this tale end up saving her. Molly learns to trust her dreams and realizes that her instincts are correct about her imposter uncle. Just as in the tale of the “Skeleton Man,” a rabbit serves as Molly’s guide, and she ultimately escapes from her uncle’s house and finds out that her imposter uncle is holding her parents captive as well. Molly’s connection with the rabbit is significant to the story and highlights the importance of the Mohawk tale to the story. Bruchac also mentions a “Lonesome Song” that Molly’s mother taught her to sing when she feels alone and needs a friend, further solidifying Molly’s relationship with her parents and culture.

SKELETON MAN takes place during modern times in a country setting. The majority of the action of the story takes place in Molly’s uncle’s scary house and the woods surrounding the house. The frightening setting closely matches the startling plot, and readers will find themselves on the edge of their seats as they read through Molly’s scary ordeal. All in all, SKELETON MAN is an eerie, creepy tale that provides insight into some details of the Mohawk culture and will certainly engage middle school aged students and up.

REVIEW EXCERPTS:

From BOOKLIST (September 2001):
“Although it's steeped in Mohawk lore and tradition, Bruchac's story is contemporary both in its setting and its celebration of the enduring strength and courage of Native American women.”

From PUBLISHERS WEEKLY (September 2003):
“Drawing on traditions of Native American stories, Bruchac writes of a girl whose parents mysteriously disappear and a "great-uncle" who shows up to claim her, with "spine-tingling effects. The mix of traditional and contemporary cultural references adds to the haunting appeal, and the quick pace and suspense will likely hold the interest of young readers."

From SCHOOL LIBRARY JOURNAL (August 2001):
“Bruchac weaves an incredibly scary story of a girl whose warm, contented family is suddenly torn apart. Molly's knowledge of and immersion in her Mohawk heritage is something she takes for granted, as are the wisdom and strength that come from understanding the traditional tales and listening to one's dreams…The suspense draws readers in and keeps them engaged. In the classic horror tradition, Bruchac offers a timely tale that will make hearts beat and brows sweat, and it has the bonus of a resourceful heroine to put the world right again.”

CONNECTIONS:

If students enjoy THE SKELETON MAN, encourage them to check out the sequel novel, THE RETURN OF SKELETON MAN by Joseph Bruchac.

Invite students to visit Joseph Bruchac’s website at http://www.josephbruchac.com/. Students might enjoy the biographical information as well as listening to the poems and songs available on his website.

Discuss with students what they would have done in Molly's situation. Ask students to contemplate how Molly's cultural heritage helped her in the story.

Culture 3: Hispanic/Latino(a) Literature - Yuyi Morales

BIBLIOGRAPHIC DATA:

Morales, Yuyi. 2008. JUST IN CASE: A TRICKSTER TALE AND SPANISH ALPHABET BOOK. New York: Roaring Brook Press. ISBN 9780329709044

PLOT SUMMARY:

It’s Grandma Beetle’s birthday, and Señor Calavera sets off with excitement to attend her party. Along the way, he is stopped by Zelmiro the Ghost, who reminds him that he must find the best present to give his friend for her birthday. Señor Calavera quickly chooses a gift for each letter of the Spanish alphabet as Zelmiro encourages him to find the present that Grandma Beetle would love the most. In a hurry to make it the party on time, Señor Calavera sets off on his bike again only to crash and ruin all of the wonderful presents. In the end, Señor Calavera shows up at Grandma Beetle’s party with the perfect present that she loved the most – Grandpa Zelmiro.

CRITICAL ANALYSIS:

Language serves as an important cultural marker for the story, giving readers insight into the Hispanic cultural elements of the story. Since this is a Spanish alphabet book, Morales includes all of the letters of the Spanish alphabet as well as a variety of Spanish words in the story. While the book does not include a glossary of Spanish words, the meaning of many of the words is made clear since all of the Spanish words for the presents chosen by Señor Calavera are also repeated in English. Even Señor Calavera’s name is significant since “calavera” is Spanish for “skull,” and Señor Calavera is actually a skeleton with an ornately decorated skull.

Both Señor Calavera and Zelmiro the Ghost are symbolic representations of the religious celebration Día de los Muertos (or Day of the Dead). This special celebration, which commemorates those who have died and celebrates the circle of life and death, is significant to the Hispanic culture and has clear influence in Morales’ JUST IN CASE. The book will undoubtedly fascinate children, and the story has the potential to expose all children to this cultural tradition.

Morales’ vibrant and captivating illustrations are a major component of the book’s appeal, and they also serve as a great cultural marker for the story. The rich and energetic colors used by Morales blend perfectly to bring the action and warmth of the story to life. Kids will love how Señor Calavera and Zelmiro the Ghost look, giving the story a touch of spookiness that is sure to delight children. Morales skillfully depicts the authentic skin tone of Grandma Beetle and her grandchildren, and she includes a variety of skin tones and hair colors to portray realistic Hispanic characters.

JUST IN CASE is an excellent story to read aloud to children, and the illustrations and upbeat plot will surely hold children’s attention. This story is rich in things kids will find appealing, such as Señor Calavera’s spooky yet friendly appearance and Zelmiro the Ghost’s ability to float through the pages of the book. Unique characters, an engaging plot, gorgeous illustrations, authentic cultural elements, and a perfect ending combine to make JUST IN CASE a powerful story to share with children.

REVIEW EXCERPTS:

From KIRKUS REVIEW starred (October 2008):
“Richly hued and filled with action, the illustrations capture the tale's humor and Latin flavor perfectly, leading on to an entirely logical, hilarious and heartwarming surprise at the end. As gifted an artist as she is a storyteller, Morales is in top form here.”

From LIBRARY MEDIA CONNECTIOn (May/June 2009):
“Vibrantly colorful illustrations interspersed throughout a rollicking story make this a delightful, atypical alphabet book. A pronunciation guide would have helped some readers. This book is useful as a supplement to Spanish language programs, for lively cultural awareness, and in communities with high Latino populations. Recommended.”

From SCHOOL LIBRARY JOURNAL (September 2008):
“Luminous, jewel-tone spreads chronicle the collection of gifts and pay homage to a rich Mexican culture…Part ghost story and part alphabet book, this trickster tale transcends both. Librarians will want to share it for the beautiful language, the spirited artwork, and the rightness of the ending.”

CONNECTIONS:

2009 Américas Award

2009 ALA Notable/Best Book

2009 Pura Belpré Illustrator Award

Pair this book with Morales’ JUST IN TIME: A TRICKSTER TALE AND COUNTING BOOK. The characters and illustrations are the same in the two stories, so they would be great stories to compare and contrast with students.

Assist children with visiting Yuyi Morales’ website at http://www.yuyimorales.com/. In particular, show students the section of the website that is all about death by clicking on “Whatever you do, do not click here. I repeat, do not…” Children will love looking at Death’s photo album and listening to the coplas, or small verses that children in Mexico sing about Death. Of course, Morales also has some spooky stories on her website to share with children, too!

Culture 3: Hispanic/Latino(a) Literature - Gary Soto

BIBLIOGRAPHIC DATA:

Soto, Gary. 2003. THE AFTERLIFE. New York: Harcourt, Inc. ISBN 0152047743

PLOT SUMMARY:

An ordinary high school senior named Chuy finds his life abruptly and violently taken from him when he makes a benign comment to a stranger in a men’s restroom at a nightclub. Chuy quickly discovers that he is a ghost, and he is given a chance to view life in a whole new way. As a ghost, he is able to see how much his family and friends loved him. Chuy’s new perspective also gives him an awareness of the things that really matter the most to him, and he ends up bravely trying to save someone else’s life. He even meets the ghost of a young girl who has committed suicide, and he ends up falling in love with her. As Chuy’s ghostly appearance begins to fade, he must quickly say goodbye to his old life and cling to his newly discovered love as he heads to “the afterlife.”

CRITICAL ANALYSIS:

The setting for this story is southeast Fresno, which Chuy considers the “homeland for Mexicans and Hmongs mostly.” Through Chuy’s eyes, Soto describes the poverty and crime of Chuy’s hometown and the surrounding areas, giving the reader insight into some of the situations faced by many throughout America.

Chuy’s character serves as an important cultural marker for the story, showing readers what life for a Mexican American teenage boy might be like. Chuy is a likeable, ordinary teenager, and all readers will easily identify with him while learning specific details about his culture. Chuy’s real name is Jesús, but he prefers the nickname Chuy. Throughout the story, Chuy references several forms of address that are of cultural significance, such as “mi papi” (my dad), “primo” (cousin) “viejo” (old man), and “carnal” (blood brother).

Soto skillfully references food specific to Chuy’s culture throughout the story as well, giving THE AFTERLIFE further cultural authenticity. For example, Soto mentions foods such as “menudo,” “churros,” and “pan dulce.”

Chuy’s religion is another way that Soto gives readers a glimpse of Chuy’s life and heritage. In fact, Chuy’s religious beliefs play a pivotal role in the plot of the story since he clearly believes strongly in the afterlife. Chuy talks about a rosary and attending mass with his mother, and he goes into Saint John’s Cathedral to pray in front of an alter for God to allow him to see his parents again in the afterlife.

Language is another important cultural marker for THE AFTERLIFE, and Soto cleverly sprinkles Spanish words and phrases throughout the story (with a glossary at the back of the book) to add to the cultural accuracy of the story. This use of both English and Spanish effectively places readers in the context of Chuy’s life as a Mexican American teenager.

THE AFTERLIFE is a great story for young adults, and many readers will empathize to Chuy because he is such a normal, ordinary guy who was in the wrong place at the wrong time. Soto blends a great deal of cultural authenticity into the story while at the same time making it a story that anyone can relate to. This book is a fascinating look at a Mexican American teenager’s life with an interesting supernatural twist that is sure to please readers.

REVIEW EXCERPTS:

From BOOKLIST starred (August 2003):
“Soto has remade Our Town into Fresno, California, and he not only paints the scenery brilliantly but also captures the pain that follows an early death. In many ways, this is as much a story about a hardscrabble place as it is about a boy who is murdered. Both pulse with life and will stay in memory.”

From HORN BOOK starred (Spring 2004):
“Chuy, the victim of a murder, rises from his body to observe earthly goings-on, but he's more engaged with his life as a teenage ghost. The Latino neighborhoods of Fresno provide a solid setting for the fantasy, as tangible as Chuy's ghost is not. Ghostly romance, not tragic reality, the book ends with Chuy and a beautiful ghost named Crystal floating toward the afterlife amid Soto's poetic metaphors of autumn.”

From PUBLISHERS WEEKLY (August 2003):
“While the premise could sound dark and morose, the novel is instead filled with hope and elegance. The author counterbalances difficult ideas with moments of genuine tenderness as well as a provocative lesson about the importance of savoring every moment-a lesson that Chuy, once fretful and insecure, comes to understand.”

CONNECTIONS:

If students enjoy THE AFTERLIFE, they may also enjoy more of Soto’s novels for young adults with Hispanic themes, such as ACCIDENTAL LOVE and BURIED ONIONS.

Gary Soto has a fantastic website that students might enjoy visiting at http://www.garysoto.com/. This is a great website for budding young writers since Soto’s FAQ section offers a lot of information about how he began writing. The photo gallery on the website is also a lot of fun to look at.

The setting of THE AFTERLIFE plays an important role in the story. After reading, begin a discussion with students about the importance of the setting and how it may have affected Chuy’s perception of things.

In addition to writing young adult literature, Gary Soto is also a poet. Invite students to write a poem about the afterlife from Chuy’s perspective.

TAYSHAS reading list 2004-2005

Culture 3: Hispanic/Latino(a) Literature - Pat Mora

BIBLIOGRAPHIC DATA:

Mora, Pat. 2007. YUM! ¡MMMM! ¡QUÉ RICO!: AMERICA’S SPROUTINGS. Ill. by Rafael López. New York: Lee & Low Books, Inc. ISBN 9781584302711

PLOT SUMMARY:

In YUM! ¡MMMM! ¡QUÉ RICO!: AMERICA’S SPROUTINGS, Pat Mora offers fourteen delicious haiku poems all about native foods of the Americas. Paired with gorgeous and vibrant illustrations, these poems come to life and leave readers craving the scrumptious foods. Mora also includes side notes for each food, giving readers background information about where each food is grown as well as how it is eaten and what it tastes like.

CRITICAL ANALYSIS:

An author’s note at the end of the book touches on the important cultural markers for this story. Mora discusses her love of variety and diversity, and she explains her reasons for wanting to write a poetry book about native foods that sprouted “before the Americas were divided into countries.” Mora states, “We do know that all these plants were grown and enjoyed by the peoples of the Americas long before Christopher Columbus or any other Europeans had ever tasted such wonderful foods. The world’s variety is amazing – and delicious.” This note sets the context for this fascinating look at fourteen foods and their origins. Mora skillfully uses a common love of food to give readers a look at the cultural and historical aspects of foods native to the Americas before European settlement.

Language is key to bringing the foods to life, and Mora also skillfully uses language as a cultural marker for this collection by sprinkling Spanish words throughout the book. Mora even includes a small glossary of four Spanish words at the beginning of the book.

Rafael López’s bright and colorful illustrations are a major part of the book’s appeal, and they help draw the reader’s attention to the multicultural aspects of the book. López skillfully depicts a variety of skin tones, hair colors, and facial features, emphasizing the point that food is for everyone.

The author’s side notes for each food also touch upon the multicultural nature of this book. Mora shares the history, origins, uses, trivia, and present-day facts for each of the fourteen featured foods. These side notes help readers root their perceptions of the foods in the cultural and historical context of the Americas prior to European settlement.

YUM! ¡MMMM! ¡QUÉ RICO!: AMERICA’S SPROUTINGS will be loved by children and adults alike, and it makes a great read aloud for sharing at story time. Not only is it a great source of information and creativity surrounding food, but it also serves as a great tribute to diversity and variety.

REVIEW EXCERPTS:

From LIBRARY MEDIA CONNECTION (February 2008):
“If you love food, this book will appeal to you. Pat Mora offers a sumptuous feast of Native American foods in haiku, a seventeen-syllable poem written with 3 lines in a 5-7-5 syllable format. With the sparkling words and the alluring illustrations, the reader will crave something to eat.”

From SCHOOL LIBRARY JOURNAL (September 2007):
“Artful compositions and brilliant complementary colors bear out the book's multicultural themes. The art conveys an infectious sense of fun, as smiling suns and moons beam down upon happy children and animals, along with a trumpet-wielding peanut-butter sandwich and a dancing pineapple. Teachers will find this a welcome addition to their social-studies units, but it should also win a broad general audience for its inventive, fun-filled approach to an ever-popular topic: food.”

From HORN BOOK (Spring 2008):
“Fourteen haiku celebrate blueberries, chiles, chocolate, corn, pineapples, and other foods from North and South America. The language is light and kid-friendly: "Round roly-poly / squirts seedy, juicy splatter. / Red bursts in your mouth." Sidebars provide notes on each food. Acrylic on wood-panel illustrations dance with color and whimsy, complementing the high-spirited, playful descriptions of food in all its delicious diversity.”

CONNECTIONS:

Nominated for 2009-2010 Texas Bluebonnet Award

2008 ALA Notable/Best Book

2008 Américas Award

For younger students, pair this story with HOW ARE YOU PEELING?: FOODS WITH MOODS by Saxton Freymann, which includes fun photographs of food with faces. Have students choose a favorite food highlighted in YUM! ¡MMMM! ¡QUÉ RICO!: AMERICA’S SPROUTINGS to illustrate with a silly face.

Have older students choose their own favorite food to write a haiku for. Students can even paint a bright and colorful painting to pair with the haiku.

Everyone loves food! Bring in a sampling of some of the foods in the story to share with students while you read. Or, let them eat the food while you teach them the fast paced food rhyme that Pat Mora shares at the end of the book.