Traditional Lit: THE THREE LITTLE PIGS by Van Gool

The True Story of the Three Little Pigs

Retold by Van Gool

Gool, Van. 1999. THE THREE LITTLE PIGS. Maryland: Paradise Press, Inc. ISBN 0831715200

Plot Summary

               Three pig brothers decide it is time to leave home and settle in their own place. The oldest pig is wise, listens to his parents’ warnings, and stays focused, while the younger two are foolish and take matters too lightly. When the wolf comes looking for a pork dinner, the younger two pigs barely escape when he blows down their flimsy houses. They are all safe in the oldest pigs brick home, especially when the wolf runs away after falling into the clever pigs pot of boiling water while trying to get in through the chimney. The brothers learn to be more careful and stick together.

Critical Analysis

               This variant of the traditional beast tale stays true while adding more detail than some, particularly with the relationship between the brothers. The character types are layered, with the overarching good pigs vs. evil wolf, along with the wise older pig and foolish younger two. These simple pig characters symbolize common human tendencies to forego wariness and preparation for more immediate gratification. The story takes place in a vague countryside with a simple series of events dealing with the brothers’ journey of independence. This morality tale warns of focusing on what’s important and preparation, as well as compassion for loved ones.

               This story flows well and is easy to read, staying true to basic traditional story. The typical groupings of three and the repeated phrases, “Little pig, little pig, let me in…” are characteristic traditional literature. The downfall of this book lies in illustrations. Though the style is appropriate to the story with full color pages and bright cartoonish characters, they do not add to the story in any significant way. They merely are picture versions of the text. Also lacking is clear representation of a root culture.

                

Connections

-        Read other versions of the Three Little Pigs and compare/contrast.

The pig who went home on Sunday : an Appalachian folktale 2001 Donald Davis ; illustrated by Jennifer Mazzucco. August House, Little Rock, AR : U.S.A

The true story of the 3 little pigs 1999 by A. Wolf ; as told to Jon Scieszka ; illustrated by Lane Smith. Viking, New York, N.Y. : U.S.A

-        Read  The True Story of the Three Little Pigs and use to teach point of view, it being from the wolf’s perspective. Students can rewrite a different story from a different characters’ perspective.

*no reviews found

Traditional Lit: THE LADY IN THE BLUE CLOAK: LEGENDS FROM THE TEXAS MISSIONS by Eric A. Kimmel

The Lady in the Blue Cloak: Legends from the Texas Mission

Retold by Eric A. Kimmel, Illustrated by Susan Guevara

Kimmel, Eric A. 2006. THE LADY IN THE BLUE CLOAK: LEGENDS FROM THE TEXAS MISSIONS. Ill. by Susan Guevara. New York: Holiday House. ISBN 0823417387

Plot Summary

               In this collection of legends centered on four Spanish missions in early Texas, the featured story is “The Lady in the Blue Cloak.” Father Damian and his fellow padres are welcomed as though expected by the native Tejas people. They say a lady in a blue cloak had visited them, told them about God, and promised men in robes and sandals would come to teach them. Later when Father Damian returned to bring food and supplies, the people once again said this had been foretold by the mysterious lady in blue. One of the padres learned of a nun back in Spain rumored to have had visions of the new world. Though she had died, the padre discovered through her writings she had perfectly described the Tejas people, had never left her town, and always wore a blue cloak. The other legends in the book tell of other experiences with spirits as well as tragedy and devotion.    

Critical Analysis

               This interesting collection of legends features characters important to the Spanish missions, mostly padres. These characters are strong, determined, and faithful. The conflicts focus on hardships faced in the harsh environment of early Texas as well as mysteries. Though intriguing and exciting events occur within the stories, the style is less action oriented with a second-hand telling feel. As typical with legends, the endings are not always happy, but do leave the reader inspired and with a belief in the sometimes fantastical. The settings are integral to the conflicts, with the name of the specific mission given with the title of each story.

               The overarching theme is religious, being God watches over all. Though, themes of love, loyalty, determination, and faith are clearly present. The culture of Spanish Catholic missionaries is reflected in the language and images in the book. Though the writing style is simplistic, with choppy sentences and basic vocabulary, Kimmel incorporates Spanish words. This simple style makes these stories perfect for reading aloud, especially with his use of questions. Additionally, there are few illustrations, one per story, and lengthier paragraphs of text.

               The paintings created for each story by Latino artist Susan Guevara have a slightly impressionist feel and are very reminiscent of well-known works of Catholicism, making them very appropriate for the stories of Spanish missions. A definite mood of spirituality is presented, and each painting reflects the theme of the story it accompanies. The book includes an introduction, author’s note, and timeline which help to add historical reference and context to the stories. Though clearly one-sided in its presentation of the missionaries’ viewpoint, it is not meant to be a balanced history lesson, but a sharing of intriguing stories originating from their experiences.  

Awards and Honors

June Franklin Naylor Award, 2006 Winner 

Review Excerpts

Ginjer L. Clarke (Children's Literature)
… This mystical tone (in the fashion of religious ghost stories and with a touch of O. Henry irony) continues throughout the other stories. This picture book for older readers may tie into some classroom discussions of this time period but probably should not be used as a strict historical reference. It will likely be most interesting to students in Texan and Catholic schools, for whom the material will be more personal.

Kirkus (Kirkus Reviews, October 1, 2006 (Vol. 74, No. 19))
…Guevara's lush full-page illustrations contain holy figures, often larger than life, radiating beams of light, and sometimes floating through the air, in the style of popular religious art well suited to these tales. These tales of simple folk beliefs may charm some readers and irritate others.

Connections

-        Include with study of Texas history as a reflection of Spanish missionaries’ point of view; contrast with more balanced and historical sources. Discuss the difference between historical sources and legends/tales.

-     use with other stories of ghosts/spririts and have students write their own legend, maybe about their school or other important place in their community  

Traditional Lit: RAPUNZEL by Paul O. Zelinsky

Rapunzel

Retold and illustrated by Paul O. Zelinsky

Zelinsky, Paul O. 1997. RAPUNZEL. New York: Dutton Children’s Books. ISBN 0525456074

Plot Summary

Long ago, a couple who has yearned for a child finally is expecting. The pregnant wife craves the rapunzel herb from the neighboring sorceress’s garden, and the dutiful husband is caught stealing it. The sorceress demands their child when it is born in return for the herbs. The sorceress takes the baby, who she names Rapunzel, and when she reaches the age of twelve locks her away in a tall tower with no door and only a window at the top. Rapunzel’s extraordinarily long hair is used as a rope to allow the sorceress up to see her. A prince happens upon the tower, falls in love with Raunzel and secretly marries her. When the sorceress discovers Rapunzel is expecting, she banishes her to the wilderness. The prince falls and is blinded when climbing the tower, wandering the wilderness until he discovers Raunzel and her children. Healed by Rapunzel’s tears, the prince takes his family back to his kingdom where they lived happily ever after.

Critical Analysis

               This traditional folktale is exquisitely retold and illustrated in a splendorous feast for the eyes. The simple characters demonstrate the muted archetypes of good and evil, neither being shown in the extreme. The women are the focus of this story, with the men being supporting roles, though important to the conflicts. A series of conflicts drives the plot, the end resolving in the predictable, though unrealistic, happily ever after. The setting, though vague in location, is integral to the story through its structures – the house with the window facing the enticing garden and the infamous but luxurious tower. Time moves rapidly in the story, with only a few sentences indicating Rapunzel’s life to adulthood.

               The overall theme of the story involves humans’ need and desire to be loved, with the addition of morals such as beware of desires and temptations. There is also a tone of perseverance, as Rapunzel and her family become happy and content despite their many trials.

               Zelinsky uses a precise and more formal language in his retelling, appropriately reflecting the nature of the story and illustrations. Though gleaning from several variants of the story, he stays true to the early telling. The typical folktale styles of formalized beginnings and endings, repeated phrases including the well-known “Rapunzel, Rapunzel, let down your hair,” and motifs of the damsel in distress and the prince are used.

               The illustrations, painted in the Italian Renaissance style, are the real treasure of this book. They are colorful, detailed, rich, and sumptuous, truly adding layers of depth to the story. The illustrations help to create mood, especially through the expressions and emotions of the characters, as well as lending movement and action. As told in an afterword chronicling the history of the tale, the origins of this tale are Italian, of which the culture of the Renaissance era is clearly depicted in the architecture and clothing in the illustrations.

Review Excerpts

Hazel Rochman (Booklist, November 15, 1997 (Vol. 94, No. 6))
…The rich oil paintings evoke the portraits, sculpture, architecture, and light-filled landscapes of Renaissance art. The costumes are lavish, the interiors intricate. Rapunzel is both gorgeous and maidenly. The sorceress is terrifying: the pictures also reveal her motherliness and her vulnerability, especially in the two double-page narrative paintings that frame the drama. One shows the sorceress taking the baby--and we see how she lovingly cradles it in her arms; in the climactic painting, when Rapunzel, the prince, and their children find each other, the whole natural world of rock and sky and tree seem to close around them in a loving embrace. Children--and adults--will pore over the intricate detail and glowing colors; they will also be moved by the mysterious tale of nurture and passion and terror. Starred Review.

Marilyn Courtot (Children's Literature)
The cover of this book is so beautiful that you can almost feel the texture of Rapunzel's golden tresses as she gazes into the distance from her isolated tower… The magnificent oils transport readers to the Italian countryside. The fabrics, skin textures, hair, and the detailed interiors are exquisitely rendered. Zelinsky will certainly have his wish to inspire readers to seek out more Renaissance art fulfilled. Readers cannot help but want to see more art like that which he has created.

Awards, Honors, Best Book Lists

ABC Children's Booksellers Choices Award, 1998 Winner Folktales and Poetry United States
Randolph Caldecott Medal, 1998 Winner United States

Best Children's Books of the Year, 1998 ; Bank Street College of Education; United States
Booklist Book Review Stars, November 15, 1997 ; United States
Books to Read Aloud to Children of All Ages, 2003 ; Bank Street College of Education; United States
Bulletin Blue Ribbons, 1997 ; Bulletin of the Center for Children's Books; United States
Capitol Choices, 1997 ; The Capitol Choices Committee; United States
Children's Catalog, Eighteenth Edition, 2001 ; H.W. Wilson; United States
Children's Catalog, Nineteenth Edition, 2006 ; H.W. Wilson; United States
Children's Literature Choice List, 1998 ; Children's Literature; United States
Cuffies: Children's Booksellers Choose Their Favorite (and not-so-favorite) Books of the Year, 1997 ; Cahners; United States
Horn Book Fanfare, 1997 ; Horn Book; United States
Los Angeles' 100 Best Books, 1997 ; IRA Children's Literature and Reading SIG and the Los Angeles Unified School District; United States
Not Just for Children Anymore!, 1999 ; Children's Book Council; United States
Notable Children's Books, 1998 ; ALSC American Library Association; United States
Recommended Literature: Kindergarten through Grade Twelve, 2002 ; California Department of Education; California
School Library Journal Best Books, 1997 ; Cahners; United States
School Library Journal Book Review Stars, November 1997 ; Cahners; United States

Connections

-        Humanities or art lessons relating to Italian Renaissance art and architecture

-        Compare/Contrast to other versions of Rapunzel, including Grimm’s; Disney’s “Tangled”

THE SNOWY DAY by Ezra Jack Keats

The Snowy Day

By Ezra Jack Keats

Keats, Ezra Jack. 1962. THE SNOWY DAY. New York: Scholastic. ISBN 0590733249

Plot summary

               Peter is delighted his city is covered in a blanket of snow. He spends the day outside, using his imagination to make the most of the deep powder. He makes tracks, snowmen and snow angels, avoids a snowball fight out of his league, and climbs a mountain. Upon returning home to warm and clean up, he discovers his saved snowball tucked in his coat pocket is gone, and then dreams the sun melts all the snow away. His excitement returns when he wakes up to see the snow again and embarks to renew his adventures with a friend.

Critical Analysis

               Peter is a fairly typical imaginative, curious young African-American boy living in an apartment in the city. His character demonstrates the ability and creativity to enjoy exploring your surroundings alone. Though there is no strong conflict, the story chronicles how Peter chooses to spend his snow day, with the false resolution of the dreamed melting leading the excitement of a new snow day with a friend. The setting plays a major role in the story, though a generalized city, the snow creates the plot. Each turn of the page indicates a new activity for Peter.

The somewhat impressionist and abstract illustrations along with the bright color scheme lend a cheerful and inspire the imagination of the reader. A bold line of hilly contrast between snow and sky gives linear cohesion to the pages. The text even refers to the illustrations at times, as when Peter tries different ways of making tracks. The themes of exploration and imagination, finding adventure in familiar places, and solitary entertainment are presented lightly. The author uses onomatopoeia and repetition along with an observant tone to tell the story of Peter’s snow day in a simple, but endearing way.

Review Excerpts

Awards and Recognitions

Educators' Top 100 Children's Books, 2007 ; NEA Survey; United States
Recommended Literature: Kindergarten through Grade Twelve, 2002 ; California Department of Education; California

Randolph Caldecott Medal, 1963 Winner United States

Connections

MY FRIEND RABBIT by Eric Rohmann

Rohmann, Eric. 2002. Brookfield: Roaring Brook Press. 0761315357

Plot Summary

            Rabbit and Mouse are enjoying their newly acquired toy airplane, when the inevitable happens. Rabbit’s knack for attracting trouble with well-intentioned ideas begins with the landing of the plane high in a tree. Through a succession of “good” ideas involving a giant stack of animals, Rabbit tries to rescue the plane. Of course the trouble continues, though the plane is recovered. Mouse remains loyal to his friend throughout, despite the situation and Rabbit’s reassurance of not to worry.

Critical Analysis

            This adventurous exploit is told from the point-of-view of Mouse, who is an ever-faithful friend to the accident-prone, though, creative and confident Rabbit. The characters represent the common and realistic friendship pairing of the reckless and the supportive. The character of Mouse demonstrates trust and patience by going along with Rabbit, who feels he can solve any problem, especially using unconventional methods. The major conflict is a familiar one of childhood, getting a valued item stuck out of reach. The determination and ingenuity of Rabbit, however unrealistic in method, represents the adventurous creativity of youth. Though the primary problem is resolved, the reader is led to predict the next disaster through a succession of images. The illustrations often foreshadow what is to come and naturally lead to predictions with each page turn.

The character illustrations are the focus, with the setting being minimal as predominantly a clear blue sky, and of course the offending tree. The pages present a cheerful mood, being full-colored, bright and bold, with the hard-lined characters in high contrast to the pale blue background. Lending interest and movement is the changing perspective; sometimes close up, sometimes pulled-back.

            The illustrations being the star of the show, the words are very minimal in short, choppy phrases which primarily state the obvious. Repetition is used, especially Rabbit’s not so reassuring “don’t worry, I have an idea!” Though not strong in cultural tones, the themes of friendship and trust are evident to those with good inference skills. The focus seems to be more of the fun and adventure, rather than the message.   

Review Excerpts

Connie Fletcher (Booklist, May 15, 2002 (Vol. 98, No. 18))
… The fun of this is in the spacing and sequencing of the heavily ink-outlined drawings. After Rabbit has thrown Mouse's beloved biplane into a tree, one full page consists of tiny Mouse staring up, ink accents marking his exasperation. On the facing page, Rabbit darts off, promising a solution… Tremendous physical humor delivers a gentle lesson about accepting friends as they are.

Kirkus (Kirkus Reviews, April 15, 2002 (Vol. 70, No. 8))
Best known for fluid, superbly realistic oil paintings, Rohmann (Prairie Train, 1999, etc) switches to thick-lined colored woodcuts and a simpler pictorial style for this nearly wordless, engagingly wacky episode. . . Rohmann uses wordless, and sometimes even empty, frames to great comic effect, allowing huge animals to make sudden entrances from the side-or from above, and artfully capturing the expressions on their faces. Young readers and pre-readers will chortle at the silliness of it all while enjoying the sometimes-demanding friendship between these disparately sized chums. © 2002 Kirkus Reviews/VNU eMedia, Inc. All rights reserved.

Awards and Recognitions

Randolph Caldecott Medal, 2003 Winner  

Best Children's Books of the Year, 2003 ; Bank Street College of Education

Children's Catalog, Eighteenth Edition, Supplement, 2003 ; H.W. Wilson
Children's Catalog, Nineteenth Edition, 2006 ; H.W. Wilson
Children's Literature Choice List, 2002 ; Children's Literature
Notable Children's Books, 2003 ; ALSC American Library Association

Connections

Konigsburg, E. L. 2000. SILENT TO THE BONE. New York: Atheneum Books for Young Readers.

McPhail, Davis. 2001. BIG PIG, LITTLE PIG. San Diego: Harcourt.

NAKED MOLE RAT GETS DRESSED by Mo Willems

Willems, Mo. 2009. NAKED MOLE RAT GETS DRESSED. New York: Hyperion Books for Children. ISBN 9781423114376

Plot summary

            Wilbur is an independent minded outsider in his colony of naked mole rats due to his enjoyment of wearing clothes. Though his fellow naked mole rats do not understand and try to convince him otherwise, Wilbur goes even further by selling clothes. The bewildered and outraged citizens seek the guidance of the wise Grand-pah in persuading Wilbur to understand he is wrong. Much to their surprise, Grand-pah shares Wilbur’s sentiment of “why not?” which leads to the acceptance of clothing among the colony.

Critical Analysis

            This tongue-in-cheek tale, though simply told and illustrated, conveys a strong message of its okay to be different. Wilbur, the main character whose clothes fetish has bucked the naked mole rat way of life, shows both strength and innocence in his determination to be himself. The unusual animal of the naked mole rat makes for an interesting society full of tradition and sameness which is a perfect backdrop for the conflict. The culture of the mole rats is communicated through their traditions and rules of society, which could easily represent any number of cultures in reality. Though fantasy in character, the situation and series of issues is very logical, being applicable to children of any age, from resolving problems through debate and seeking authority to the themes of tolerance, acceptance, and independence.

Though the themes and deeper meanings are clear, it is not preachy, the author using a stylistic mix of humor, sarcasm, and seriousness. The voice of the author is easily heard through the clever use of punctuation and short sentences, building suspense.

The simple, comic-strip type drawn characters with solid pink colors draw the reader through the story with their size and placement on the page, lending to the action and progression of the story. There is little to no setting on the pages, typically only indicated by a line or a few dots. Though an occasional important element, such as the clothes stand or portrait of Grand-pah will be more detailed. The true wonder and entertainment to this book are the facial expressions and gestures of the mole rats, from varied depictions of utter disgust to their unique dance moves. The assortment of clothing worn by Wilbur also receives special detail. Though the real humor of the book will likely be overlooked by younger children, the older ones, and even adults, will appreciate it.   

Review Excerpts

Kirkus (Kirkus Reviews, December 1, 2008 (Vol. 76, No. 23))
Willems tackles the old it's-OK-to-be-different genre with his customary chutzpah and subversive charm …Willems eschews a black-and-white encouragement to stand out from the crowd, offering instead a story that makes a case for different opinions to operate side by side… 2009, Hyperion, 40p, $16.99. Category: Picture book. Ages 4 to 8. © 2008 Kirkus Reviews/VNU eMedia, Inc. All rights reserved.

Christine Markley (Library Media Connection, June 2009)
… Young readers will be drawn to the illustrations and the giggle-inducing word naked. Teachers will use this book to discuss individuality and acceptance of differences. Make room for Wilbur; both the naked and the clothed mole rats will be a definite hit in any collection. Recommended. 2009, Hyperion Books for Children/Disney Publishing Worldwide, 40pp., $16.99 hc. Ages 5 to 10.

Daniel Kraus (Booklist, Nov. 15, 2008 (Vol. 105, No. 6))
…Willems’ art follows the simple style of his Elephant and Piggie books, and is dominated in color by (no surprise) naked-mole-rat pink. An ongoing horizontal line lends continuity to most of the pages, occasionally curving to add simple architecture to the scenes. But mostly it is Wilbur’s guileless observations that will have young readers feeling good about individual expression. Preschool-Grade 2

Awards and Recognitions:

Bulletin Blue Ribbons, 2009 ; Bulletin of the Center for Children's Books
Children's Catalog Supplement to Nineteenth Edition, 2009 ; H. W. Wilson Company
Choices, 2010 ; Cooperative Children's Book Center
Publishers Weekly Book Review Stars, November 3, 2008 ; Cahners

Connections

Baker, Roberta. 2002. NO ORDINARY OLIVE. Ill. by Debbie Tilley. Boston: Little, Brown.

Andreae, Giles. 2001. GIRAFFES CAN’T DANCE. Ill. by Guy Parker-Rees. New York: Orchard Books.

Spinelli, Jerry. 2001. STARGIRL. Thorndike: Thorndike Press.