Swamp Angel - Traditional Literature

Bibliography

Isaacs, Anne. 1994. SWAMP ANGEL. Ill by Paul O. Zelinsky. New York: Dutton Children’s Books. ISBN 0-525-45271-0.

Plot Summary

            SWAMP ANGEL is a ‘Tall Tale’ or ‘Folk Tale’ about a girl named Angelica Longrider who lived in Tennessee in the 1800’s. Angelica, or Swamp Angel, as she comes to be called, grows up to be a giant of a girl and, “the greatest woodswoman in Tennessee.” She performs all sorts of miraculous feats. One in particular, saving an entire wagon train of settlers from being mired in a Swamp is what earns her nickname Swamp Angel. However, her greatest feat was wrestling a great bear called Thundering Tarnation. This huge bear was raiding the supply cellars of all the settlers in Tennessee. A competition was announced, and anyone who could kill the bear would get his pelt, however no one was able to match the bear in a fight but Swamp Angel. She wrestled the bear, and at one point threw him up into the sky, to the point where they both collapsed from exhaustion. Their snoring was so loud and powerful that it caused trees to topple over, one of them falling on Thundering Tarnation and killing him. The bear’s death not only ended the raiding of the settler’s supply cellars, it also provided food for all the people in Tennessee. Swamp Angel kept the bear’s pelt but, “It was too big for Tennessee so she moved to Montana” where the pelt was spread out in front of her home and came to be known as the Shortgrass Prairie. Thundering Tarnation himself, or his imprint from being tossed into the sky, became the Ursa Major, the Big Dipper.

Critical Analysis

The language Isaacs uses in her writing is very evocative of the timeframe and setting of the story.  She utilizes numerous colloquialisms in the dialogue to reinforce the plot points of the story. This use of colloquialisms is showcased especially well in the scene where the tree falls on Thundering Tarnation. Swamp Angel says, “Confound it varmint, if you warn’t the most wondrous heap of trouble I ever come to grips with!” Isaac’s uses words well to showcase the time and place she is writing about. As a result her characters have an authentic voice.

This book has compelling moral themes. We see Swamp Angel, as the heroine, helping out her fellow citizens whenever she can. She is a strong female character who does not fit into any traditional role. Thundering Tarnation is the archetypal villain of the story, destroying property and placing people in danger. Good triumphs over evil and the story ends happily which conforms to the conventional idea of Traditional literature. Swamp Angel is a formidable counterpart to the traditionally male American Folk Hero. She is a character that will inspire young girls.

The setting, the backwoods of Tennessee, fits well into the concept of the American Tall Tale as well. These tales typically took place in areas of the country that were more rural and less urban. This setting conjures up images of log cabins and rolling forests, extremely wild and rough scenery.

Zelinsky’s oil painting illustrations perfectly compliment that setting and bring it to life in a very energetic way. They depict period, location and cultural elements particularly well. He also has a marvelous ability to portray facial features and emotion. Each illustration is framed in a different type of wood to help reinforce the idea that the story is set in the backwoods of the frontier. The illustrations vary in style as well. There are single scenes, but there are also pages where assortments of pictures are shown over a central image. For example pages two and three are a spread showing Swamp Angel performing various tasks. She is depicted building a log cabin as a baby, stopping a flooded river from washing away settler’s homes and putting out a fire at a neighbor’s log cabin. This mixture sits on top of one main image, that of a beautiful wooded valley. Zelinsky’s art gives life and depth to this story.

Review Excerpts and Awards

Caldecott Medal Honor Book 1995

New York Times Best Illustrated Children’s Book of the Year 1994

BOOKLIST review 1994: “Isaacs tells her original story with the glorious exaggeration and uproarious farce of the traditional tall tale and with its typical laconic idiom--you just can't help reading it aloud.”

KIRKUS review 1994: “Matching the superb text stride for stride are Zelinsky's (The Wheels on the Bus, 1990) altered-state, American primitive paintings -- gems that provide new pleasures, reading after reading.”

Connections

·    Pair this story with other American Tall Tales such as PAUL BUNYAN by Steven Kellog ISBN 0688058000, or JOHN HENRY by Julius Lester and illustrated by Jerry Pinkney ISBN 0140566228. These books help to showcase other American Tall Tales with larger than life figures.

·    Have children read the sequel to SWAMP ANGEL entitled DUST DEVIL also written by Isaacs and illustrated by Zelinsky ISBN 0375867228. It tells the story of Swamp Angel’s daring feats in Montana.

·    The video series SHELLEY DUVALL’S TALL TALES AND LEGENDS ASIN B002CLKOYM is a perfect complement to this book.

·    This website provides Teacher Activities for SWAMP ANGEL and DUST DEVIL http://www.anneisaacs.com/node/4.

The Three Pigs: Nacho, Tito and Miguel - Traditional Literature

Bibliography

Salinas, Bobbi. 1998. THE THREE PIGS: NACHO, TITO AND MIGUEL. Oakland: Piñata Publications. ISBN 0-934925-05-4.

Plot Summary

            Bobbi Salinas’ book THE THREE PIGS: NACHO, TITO AND MIGUEL is a retelling of the fairy tale THE THREE LITTLE PIGS with a Mexican theme, in two languages English and Spanish, set in the Southwest. It begins with Nacho, Tito and Miguel’s mother sending them out into the world to begin their adult lives.  She invites them to come home anytime they are in town for fresh tortillas and admonishes them to watch out for the bad wolf, Jose. Nacho, the first pig, buys some straw from a cow to build his house. Not long after the house is completed, the bad wolf Jose arrives. When Nacho will not let him in, Jose blows Nacho’s house down, ties him up and leaves him in the pigpen behind his house to eat later. Next, we see Tito buying wood from a beaver for his house. Again, Jose arrives and when he is not granted admittance blows Tito’s house down and adds him to the pigpen. Finally Miguel, the smartest of the brothers, buys adobe bricks from a frog and builds his house. Without fail Jose comes to his house as well, but here the plot deviates. When Miguel will not let him in and Jose cannot blow the house down, he tries several devious ways to lure Miguel out of the house. Miguel is not fooled by any of Jose’s schemes. Out of desperation Jose tries to capture Miguel by climbing down the chimney and falls into Miguel’s hot pot of green chile stew. Jose, injured by the hot stew, leaves Miguel’s house in defeat and Miguel is able to rescue his two brothers.

Critical Analysis

            The major difference in this version of THE THREE LITTLE PIGS is, of course, the fact that the pigs are Mexican-Americans. The book is written with English as the primary language, however a secondary Spanish translation is provided alongside the English version to assist non-native speakers. To make the language more realistic Ms. Salinas interspersed Spanish words within the English text, for example, “This pig will make some delicious carnitas and chicharrones for supper tonight!” Wherever Spanish words are used in the English text they are underlined and Salinas provides a glossary at the end of the book. By doing this she helps to not only encapsulate the sound of the spoken language in the text and create a culturally specific story, but she also introduces English speakers to the Spanish words.

Another major difference however is the non-violent nature of the story. The first two pigs are not eaten by the wolf and the wolf is not cooked by the third pig for dinner. An additional major departure is the fact that Jose tries to lure Miguel out of the house three separate times to eat him. Miguel, being smarter, is able to see through Jose’s tricks and outwit him. Thereby demonstrating to children that not only are there ways to overcome the scariest situations but it also can be done in a non-violent manner.

The plot is very episodic, moving from scene to scene in a quick progression full of action. Time, and in turn the story itself, has a fast pace to it. This technique keeps children’s attention focused. As do Salinas’ illustrations which resemble Mexican folk art, and they clearly delineate the setting of the story. Readers are instantly aware that this version of the tale occurs in the Southwest due to the landscapes, clothing and everyday items depicted in her images. The colors are vibrant and many traditional Mexican elements are intermingled throughout the pictures.  One excellent example of this is the illustrations of the interior of two of the pig’s houses. They have terra cotta tile floors and wood accents. Also, Tito and Miguel’s houses have references to famous Mexican figures. Tito has a Frida Khalo painting and Miguel has books referencing Cesar Chavez and Dolores Huerta. All of these elements serve to showcase the culture being portrayed and serve to expose young readers of both nationalities to the finer elements of Hispanic culture.

Review Excerpts and Awards

Tomas Rivera Mexican American Children's Book Award Winner 1999

THE PEOPLE’S GUIDE TO MEXICO review 1999: “An illustrated bilingual fable by the author of Indo Hispanic Folk Traditions, this is a delightful book that both adults and children will enjoy.”

CAHNERS BUSINESS INFORMATION review 2001: “…this book offers a spicy retelling of the familiar tale of the three little pigs. The excellent illustrations are entertaining, intelligent, and witty, offering lots of visual jokes and cross-cultural references to the likes of Elvis Presley, Frida Kahlo, Cesar Chavez, and Cantinflas.”

Connections

·    This book lends itself well to a Reader’s Theater performance. There are ideas in the back of the book for simple costumes that a teacher could incorporate into this production.

·    Introduce other Spanish retellings of fairy tales such as LITTLE GOLD STAR: A SPANISH AMERICAN CINDERELLA by Robert D. San Souci with illustrations by Sergio Martinez ISBN 0688147801. This book also highlights traditional Spanish elements in the guise of a well-known fairy tale.  

·    Children could be asked to create paintings similar to those of Frida Kahlo. 

Beautiful Blackbird - Traditional Literature

Bibliography

Bryan, Ashley. 2003. BEAUTIFUL BLACKBIRD. New York: Atheneum Books for Young Readers. ISBN 0-689-84731-9.

Plot Summary

            BEAUTIFUL BLACKBIRD is a folktale adapted from a story native to the Ila speaking peoples of Zambia. All the birds in Africa were different colors, but none had the beautiful blackness of the Blackbird, which the colorful birds craved. One day the birds all came together to celebrate when Ringdove (a grey dove) asked Blackbird to add black coloring to his body to make it more beautiful. Blackbird agreed, mixed up some blackening in his medicine gourd, and added a black ring to Ringdove’s neck. Soon, all the birds wanted black coloring on their bodies because they knew that black was beautiful.  Blackbird agreed to add some black color to all the birds. He adorned each bird differently, no two were alike. But Blackbird wanted the colorful birds to know that they were not like him and that “Color on the outside is not what’s on the inside.” 

Critical Analysis

            Ashley Bryan’s book has several elements common to Traditional literature. The setting of BEAUTIFUL BLACKBIRD is vague, only Africa itself is mentioned with no further delineation. Another common element of Traditional literature utilized in this story is that of the wish. All the birds in the story wish to have black marks on their bodies to be more like Blackbird. That wish is fulfilled, but the idea that each bird is unique is reinforced several times strengthening the point to children that they do not have to be like everyone else. They can be themselves and still be distinctive; it is not outside appearance that matters.

            However, Bryan’s book also deviates somewhat from the Traditional style of literature in that there is no concept of villain vs. hero. As a result, there is no conflict and no ultimate resolution of good vs. evil.  In addition, poetry is incorporated into the story in the form of songs. The birds sing songs about wanting to add black to their bodies. The poetry is the bird’s language. The poetry contains a lot of repetition. Because of this rhythmic song poetry, this book is intended to be read aloud to enable younger readers to not only hear, but feel the words.

Bryan’s intensely colorful illustrations were created out of paper using his mother’s scissors and crafted into the form of collages. Each bird is its own distinctive paper cutout placed onto a separate background. In addition, after Blackbird paints them each bird has diverse black markings, the markings themselves are separate pieces cut out and placed on top of the solid color birds adding to the individual uniqueness of each bird.

Review Excerpts and Awards

Coretta Scott King Book Award winner for illustrations 2004.

KIRKUS review 2002: “This telling, by the master storyteller, just aches to be read aloud; the lively rhythms keep the simple folktale rollicking along.”

BOOKLIST review 2003: “The overlapping collage images fill the pages with energy as the songlike responses of the birds tap out a rhythm punctuated with "uh-huhs."”
 Connections

•          One activity for young children would be for them to draw and cut out birds and then add black accents to them. This will help reinforce the message that everyone is unique and distinctive in their own way.
•       Children can also design simple bird costumes and create their own dances to go with the songs in the book.
•       Other African folktales include: ASHLEY BRYAN'S AFRICAN TALES, UH-HUH by Ashley Bryan ISBN 0689820763 and THE CLEVER MONKEY: A FOLKTALE FROM WEST AFRICA by Rob Cleveland with illustrations by Baird Hoffmire ISBN 0874838010.

Sylvester and the Magic Pebble - Picture Book

Bibliography

Steig, William. 1969. SYLVESTER AND THE MAGIC PEBBLE. New York: Simon and Schuster Books for Young Readers. ISBN 0-671-66154-X.

Plot Summary

            In this magical, sometimes heart wrenching tale, Steig tells the story of Sylvester, a young donkey who collects pebbles. Sylvester lives in a cozy cottage on Acorn Road in Oatsdale, a small country town. One Saturday, Sylvester stops by a lovely river, and finds a magic pebble that grants his every wish. The problem is, you must touch the pebble to make the wishes come true; and when, in a moment of fright, Sylvester wishes to be transformed into a rock to escape a lion he is immediately transformed into a rock. The magic pebble falls to the ground near the rock. His parents search everywhere for him, but to no avail. Meanwhile the seasons pass and Sylvester eventually gives up hope and falls into a deep sleep. His heartbroken parents, in an attempt to alleviate the constant sorrow they feel, decide to go on a picnic. They settle at the exact location where Sylvester is trapped in the rock.  When his mother sits on the rock, it awakens Sylvester from his sleep and he cries out to them in his mind, but of course they cannot hear anything. Suddenly, his father unknowingly finds the magic pebble and places it on the rock that is Sylvester. When Sylvester achingly wishes to be himself again the magic pebble grants his wish and he is reunited with his parents.

Critical Analysis

            Through heartwarming characters Steig presents a story that is not only sorrowful but also humorous, and joyous. His easy going, uncomplicated writing style evokes each of these sentiments effortlessly. His style is always engaging, never tedious or repetitious. You get a clear sense of the characters thoughts and emotions. It causes the reader to think and feel about the events taking place. The bucolic illustrations enhance the atmosphere of unspoiled, country fields and small towns, creating a feeling of simplicity and happiness. Steig’s illustrations complement the text beautifully. Done in watercolor, they have a soft appearance to them, but dark black lines are used to great effect to sharpen facial features and convey emotions, as well as other details. The colors are bright and vibrant, providing interesting images for the child to look at whether they are reading the story themselves, or having it read aloud to them. Steig’s writing in combination with his illustrations, clearly express the central point of the story, that there is no better place than home with family and loved ones. 

Review Excerpts and Awards

            Caldecott Medal Winner 1970

            SCHOOL LIBRARY JOURNAL review 2000: “Droll and whimsical, poignant and silly, Steig made quite a splash when this touching story of a donkey, whose wish seems to doom him to be a rock forever.”

            BOOKS FOR KEEPS review 2008: “The wrong wish, the lost child, the distraught parents (the drawing of the mother crying, her knitting unheeded in her lap, the flowers dead in the vase, might have been unbearable if she had been human – but she is a donkey), the good old story, but fresh, free, full of colour and wit.”

Connections

·       As an activity after a read aloud session of this book, the librarian could ask each child what they would wish for if they found a magic pebble.

·       Other books about magic and granting wishes that could be recommended to children include BARNEY BIPPLE'S MAGIC DANDELIONS by Carol Chapman with illustrations by Steven Kellog ISBN 0140545409 and 9 MAGIC WISHES by Shirley Jackson with illustrations by Miles Hyman ISBN 0374355258.

·       The central theme of the story, appreciation of home and a loving family, could also be demonstrated to children through watching of THE WIZARD OF OZ.  

Giggle, Giggle, Quack - Picture Book

Bibliography

Cronin, Doreen. 2002. GIGGLE, GIGGLE, QUACK. Ill. by Besty Lewin. New York: Simon and Schuster. ISBN 0-689-84506-5.


Plot Summary

            GIGGLE, GIGGLE, QUACK is Doreen Cronin's sequel to CLACK, CLACK, MOO: COWS THAT TYPE, her first book featuring Duck and the other farmyard animals. In this hilarious followup, Farmer Brown goes on vacation and places his brother Bob in charge of watching his animals. Farmer Brown left his brother detailed written instructions, the most important of them being to keep an eye on Duck, he was trouble. Mischievous Duck has ideas of his own. Duck takes his red pencil and changes all of the notes Farmer Brown left. Feed the animals becomes “Tuesday night is pizza night,” and wash the pigs turns into “Wash them with my favorite bubble bath, and dry them off with my good towels.” When Farmer Brown calls to check on his animals, his brother declares everything is fine. However on Thursday, which according to Duck’s new note, is movie night and the cows' turn to pick the film, the events change. The animals settle in to watch the film, The Sound of Moosic, when Farmer Brown calls again. All Farmer Brown hears on the other end of the line is “Giggle, giggle, quack.” That’s when he knew that Duck was misbehaving again, and he had to return home immediately.

Critical Analysis

            GIGGLE, GIGGLE, QUACK has a very simple plot. It is not so much a story as a series of mishaps perpetrated by Duck against Bob. As the book progresses and we see Farmer Brown’s bother make mistake after mistake, the reader knows eventually Duck will get caught. The fun is in wondering how much Duck can get away with before he is found out. Duck is a character children will relate to, he is a fun loving prankster who likes to play jokes on people. In Farmer Brown children will recognize the authority figure and in Bob they see the person who falls for the jokes time and time again, without realizing he is being duped.

            The writing, like the plot, has a very simple style to it. The language works well for a read aloud book, and for young children reading their first books. There is a repetitive nature to the books as well, in a sense that every time Duck changes one of Farmer Brown’s instructions we hear him and the other farm animals laugh. For example, after the notes about washing the pigs and movie night the reader sees “Giggle, giggle, oink” and “Giggle, giggle moo.” This repetitive style shows that the animals are repeatedly able to outsmart Bob. It adds a sense of whimsy to the story.

            The setting of this book comes through in the illustrations. Betsy Lewin’s animated watercolor paintings create the world of the farm. Several of the illustrations are set on a plain white background. This helps to highlight what is taking place, and show it in greater detail. The other colors stand out sharply against this white backdrop. Lewin also uses dark black lines to good effect to show movement and emotion in the characters.

Review Excerpts

BOOKLIST review 2002: “…kids will love the silly, subversive farce, and Lewin's big illustrations with thick black outlines do a great job of showing close-up cows and pigs happily lolling on the sofa, splashing in the bathroom, and making themselves right at home.”

COOPERATIVE CHILDREN’S BOOK CENTER CHOICES review 2003: “The expressions on the animals' faces as Duck successfully pulls the wool over Bob's eyes - a hen smothers a giggle beneath her wing, while two cows share a smirk of delight -- invite children to share the joke in this amusing tale of good-natured trickery.”

Connections

•  Children who enjoyed this book will delight in Doreen Cronin’s other books featuring Duck including, CLICK, CLACK, MOO: COWS THAT TYPE ISBN 9781599610887, DUCK FOR PRESIDENT ISBN 0689863772 and CLICK, CLACK, SPLISH, SPLASH: A COUNTING ADVENTURE ISBN 9780689877162.
•  The Scholastic Storybook Treasures video collection entitled GIGGLE, GIGGLE, QUACK…AND MORE STORIES BY DOREEN CRONIN bring her books to life through animation.
•  On Scholastic’s website Teachers can find a Discussion Guide. The URL is http://www2.scholastic.com/browse/collateral.jsp?id=32427.

Dave the Potter: Artist, Poet Slave - Picture Book

Bibliography

Hill, Laban Carrick. 2011. DAVE THE POTTER: ARTIST, POET, SLAVE. Ill. By Bryan Collier. New York: Little Brown and Company.
ISBN 978-0-316-10731-0.

Plot Summary

            Laban Carrick Hill’s book, DAVE THE POTTER, explored the work of an inspiring African American artist, Dave. Dave was a pottery maker and slave. Although the actual setting and timeframe of the book (a plantation in Pottersville, South Carolina in 1880) was never mentioned in the story itself, it was discussed in the author’s notes. The setting however was brought to life by the striking illustrations which provide not only a vivid description of the location, but also the process Dave used to create his pottery. From its beginnings as dirt and water, the reader is drawn into the progression of steps employed to turn that dirt into clay, and eventually into a piece of pottery. Dave left his distinctive mark on each piece of pottery he created by scratching a small piece of his own poetry into the clay; turning it from pottery into art. There is no traditional “story”, with a plot, and conflict, instead this book is a journey of creation. It illustrates, in step by step detail, the process Dave used to create his pots. There are two characters presented, Dave and the clay itself. Hill’s writing and Collier’s illustrations bring the clay to life and create images of the clay growing and evolving, like a child grows into an adult.  This book instills in its readers the care and detail a man has for his work, turning it from ordinary into art. In addition it, in a very subtle manner it teaches that the most adverse circumstances can be overcome, and not only be converted into an opportunity for self- expression, but also a medium to provide inspiration to others.

Critical Analysis

            Hill’s modest writing employs metaphor and simile to create understanding. “…his potter’s wheel spun as fast as a carnival’s wheel of fortune.” His writing is tactile; it evokes movement, action and sensation “His chapped thumbs pinched into the center, squeezed the inside against his fingers outside.”  The action in the book is created by Hills’s vivid language and Collier’s vibrant and palpable illustrations, transporting the reader to the time of the plantation. These illustrations are essentially the plot. However, they also have a patchwork like quality to them providing depth and interest. The central figures are depicted in a very lifelike way; however the background images appear to have been created out of different images pasted together. Also, there is a combination of both movement and emotion in his art. An excellent example of Collier’s depiction of movement is a picture of Dave watching his pot grow and expand on the potter’s wheel. The picture shows the pot itself, but it also shows increasingly larger outlines emanating from the pot creating the illusion of the pot expanding on the page.

     It should also be noted that this book has a minor element of engineering. In the center is a pull out flap that details, in four panels, a pot being created out of a lump of clay. The reader sees the pot grow and expand through Collier’s illustrations over those four panels. Hill also provides a biography of Dave, along with excerpts from his poetry and a bibliography providing additional resources and websites to further explore this fascinating artist.

Review Excerpts and Awards

            Caldecott Honor Book 2011

            Coretta Scott King Book Award (Winner Illustrator) 2011

     KIRKUS review 2010: “Hill crafts a poetic tribute that's respectful and playful, much like the potter's own short verse, which was frequently incised onto the shoulders of his handsome stoneware jars. Collier's rich watercolor collages adopt many angles of perspective to reveal the potter's strength and artistry.”

      COOPERATIVE CHILDREN’S BOOK CENTER CHOICES review 2010: “Author Laban Carrick Hill’s artful, free-flowing narrative describes how Dave, an African American potter who lived in slavery, might have created his famous and beautiful pots in this picture book that illuminates an artist known only by his first name.”

Connections

·       Poetry can be created dealing with the child’s hobby.

·       Students could prepare a story about overcoming adversity in their own lives.

·       This website is an educator’s guide to DAVE THE POTTER http://www.digitaltraditions.net/html/D_Resources.cfm.