Mirror Mirror: A Book of Reversible Verse

BIBLIOGRAPHY

Singer, Marilyn. 2010. Mirror Mirror: A Book of Reversible Verse. Ill. by Josée Masse. New York: Dutton Children’s Books. ISBN 9780525479017

PLOT SUMMARY

In Mirror Mirror Marilyn Singer has created a fairy tale wedding as she brings together two genres and seamlessly blends them into a new and exciting form. Using carefully chosen words and a new poem structure that she calls “reverso,” Singer presents 12 popular fairy tales in an exciting and innovative manner. Each reading offers differing points of view of the same fairy tale event. For example, in Longing for Beauty we hear: A beast/can love/beauty; while in the reverso we hear: Beauty/can love/a Beast. The first and last reversos invite the reader to view the world differently and to follow the road upon which they are led.

CRITICAL ANALYSIS

Singer has created a fascinating new style of poetry. By its very nature, the art of creating poems that can be read both forwards and backwards while retaining sense requires structure, carefully chosen words, and a minimalist attitude. With changes only in punctuation and capitalization, each line reads the same in each direction, with an entirely different meaning. Singer gives a clever interpretation of popular fairy tales, and also offers the opposing point of view.

These 14 poems are well-suited to both reading silently and aloud. The rhythm can be hard to find during the first read, but once familiar with how the intonation should sound, works well. The use of rhyme is limited, but where it is used, flows well within the structure of the poems. Some of the poems present excellent word arrangements and emphasis to completely change the meaning. For example, in the poem In the Hood, Little Red Riding Hood is “In my hood,” while the wolf is “in my ‘hood.’”

While these reversos can stand alone, Masse’s brilliant illustrations add considerably to the fun of reading this book. Each illustration provides a visual representation of each pair of poems; the illustrations themselves are reversos. One half supports one side of the story and the other half the other side, but when viewed as a whole, each contains elements of the other. For example, the shape of Sleeping Beauty’s dress is on both sides of the drawing, but on one side it is her dress, while on the other side it forms the forest the prince travels through to reach Sleeping Beauty. The colors Masse uses are rich and deep, and draw the eye into the picture. Be sure and look at the pictures both close up and from a distance; you will be surprised by what you see.

The book is also laid out in a manner that is appealing to the reader. Poems and pictures face each other, but are on alternating leaves with each turn of a page. The final page of the book contains an explanation by Singer as to how reversos developed, with an invitation for readers to try a few on their own.

PERSONAL RESPONSE

I love this book! Again, I am struck by the creativity and cleverness of an author in producing this kind of work. The thought and care that must have gone into the choosing of each word or phrase must have been painstaking. The illustrations are also extremely well done. When sharing this book with my second grade students, I would get caught up in looking at the pictures myself instead of sharing them. My students, especially the girls, really enjoyed this as well. They kept asking for it over and over again, and were disappointed when I had to bring it home.

REVIEW EXCERPT(S)

Cybil Award, 2010

Notable Children's Books in the English Language Arts, 2011; NCTE Children's Literature Assembly; United States
Notable Children's Books, 2011; ALSC American Library Association; United States
Publishers Weekly Best Children's Books, 2010; United States
Publishers Weekly Book Review Stars, February 8, 2010; Cahners; United States
School Library Journal Starred Review: “This appealing collection based on fairy tales is a marvel to read.”

Booklist starred review: “A must-purchase that will have readers marveling over a visual and verbal feast.”

CONNECTIONS

Ø  After reading this book, have students try writing their own reversos. With the aid of the art teacher, illustrate the reversos using the same techniques that Masse employs in her fine illustrations.

Ø  Read other books by Marilyn Singer.

Singer, Marilyn. Twosomes: Love Poems from the Animal Kingdom. ISBN 9780375867101

Singer, Marilyn. Shoebop! ISBN 9780525479390

Ø  This would be a fun book to use to offer yet another look at perspective.

Ø  This would also be fun to do as a choral reading, having one half of your group of students reading one side of the reverso, and the other half reading the reverse of the poem.

The True Story of the 3 Little Pigs!

BIBLIOGRAPHY

Scieszka, Jon. 1989. The True Story of the 3 Little Pigs! Ill. by Lane Smith. New York:

Scholastic, Inc. ISBN 0590443577

PLOT SUMMARY

In this amusing version of the traditional three pigs story, Alexander T. Wolf attempts to portray himself as a sympathetic character that is framed based on circumstantial evidence and coincidental events. Mr. Wolf’s story, as told to Jon Scieszka, is that he was simply trying to borrow a cup of sugar from his neighbor, a pig, in order to bake his dear granny a birthday cake. Unfortunately, Mr. Wolf is in the throes of a sneezing cold, which wreaks havoc on his neighbor’s poorly designed straw house. From Mr. Wolf’s perspective, there is no reason not to eat the pig, which has been accidently killed in the collapse of his house. After all, Mr. Wolf explains, the reader would eat a cheeseburger that was just lying around. The second pig doesn’t fair much better than the first, and when the third pig insults Wolf’s granny, Wolf goes berserk, resulting in his arrest. The wolf lays the blame for his being framed at the feet of the press, claiming that the real story didn’t sound exciting enough, so the reporters “jazzed it up.”

CRITICAL ANALYSIS

Jon Scieszka’s The True Story of the 3 Little Pigs is an excellent example of perspective. The author uses the same elements found in the more traditional three pigs story: three pigs, houses made of straw, sticks, and bricks, and the huffing and puffing of the wolf, and gives them, from the wolf’s point of view, a rational explanation. The wolf, as storyteller, invites the reader to be empathetic to the plight of all wolves: their diets consist of cute, little animals. He points out that, “If cheeseburgers were cute, folks would probably think you were Big and Bad, too.”

Lane Smith’s illustrations are reminiscent of sepia-toned photographs of the late 19^th century. The stark, yet dream-like quality of the pictures adds credence to the wolf’s story. Smith documents the progression of the story, with elements that move the plot forward, while at the same time incorporating amusing details. One such detail is the portrait of the wolf’s granny on the wall behind the wolf as he is preparing his cake ingredients. Granny is clearly the wolf from Little Red Riding Hood. The reader also sees the wolf walking jauntily down the road, whistling, with not a care in the world as he seeks out his cup of sugar.

While this version of the three pigs is considerably less violent than many, some people may be disturbed to see the policemen portrayed as pigs. Those sensitive to events of the sixties might feel that this is an insult to those called to protect. However, in the scope of the book, it is evident that, with the exception of the wolf, it is a pig’s world: the reporters are also pigs, the newspaper that breaks the story of the wolf’s arrest is The Daily Pig, and the wolf is incarcerated in the Pig Penn.

Even the young child will recognize each pig’s house and the huffing and puffing of the wolf. Scieszka’s use of things familiar to children (baking a cake, cheeseburgers) go a long way in helping them make a connection with the wolf. Those children who are of a more mature age will be amused by this look at a familiar story from a different point of view, and can participate in discussions about perspective and point-of-view.

PERSONAL OBSERVATIONS

The True Story of the 3 Little Pigs was the first fractured fairy tale that I ever read. I found, and still find, it to be highly amusing. It became a tool for me to use in the classroom to springboard discussions about perspective and point-of-view. Details in the illustrations continue to amuse me, even after several readings: the small animals in the wolf’s sandwich and cake mix, the thoughtful look on the wolf’s face as he considers whether he should leave a ham dinner just lying around, and the pink sheep on his handkerchief.

I also like that Scieszka keeps the essential story elements the same; he doesn’t change the characters, the pigs’ building materials, or the outcome for two of the pigs. By keeping these elements, he is ensuring that children will recognize the traditional story. Because of this, children just might begin to realize that every story has two sides (at least!).

REVIEW EXCERPT(S)

Baker & Taylor Hot Picks - May 1996

NY Times Children's Books - Best Illustrated Children's Books 1997 (And Ongoing)

Notable Children's Books 1990

Parents' Choice Award, 1996

Publisher’s Weekly: “Designed with uncommon flair, this gaily newfangled version of the classic tale takes sides with the villain.”

CONNECTIONS

• The True Story of the 3 Little Pigs is an excellent choice to start a discussion with children about point-of-view and perspective. After reading this book aloud, have children look at other “misunderstood” characters in traditional literature and have them write or tell the story from that point of view.
• This book would also be a great addition to a book study of the many versions of the three pigs. Other versions to include might be:

§  Marshall, James. The Three Little Pigs. ISBN 9780448422886

§  Trivizas, Eugene. The Three Little Wolves and the Big Bad Pig.

ISBN 9780689815287

§  Wiesner, David. The Three Pigs. ISBN 9780618007011

• For those interested in building and construction, this version of the three pigs, along with any others, would be a fun jumping off point for introducing types of houses and building materials. Students could construct houses of different materials and take turns “huffing and puffing” to see which houses are made of the sturdiest materials.

The Three Little Tamales

BIBLIOGRAPHY

Kimmel, Eric A. 2009. The Three Little Tamales. Ill. by Valeria Docampo. Tarrytown, New York: Marshall Cavendish Corporation. ISBN 9780761455196

PLOT SUMMARY

Eric Kimmel adds a new flavor to the story of the three pigs. Urged on by his fans and inspired by his favorite Mexican restaurant, Kimmel tells the story of the three little tamales. Convinced by a passing tortilla to run away from the restaurant where they were made to be eaten, the three tamales make their move. The first builds her home on the prairie, with sweet-smelling sage. The next builds his home in a cornfield, where the music of rustling cornstalks is made. The third, the smart one, runs to the desert, where she makes her home in a sturdy fortress of cactus. All is well until the appearance of Señor Lobo, who threatens to blow the little tamales to Laredo, until he comes up against the cleverness of the smart tamale. Not wanting to be made into a wolf tamale, the wolf disappears forever.

CRITICAL ANALYSIS

In this new variant of the three pigs, Kimmel has missed the mark. While there are parts of the story that are appealing, the overall feeling is of someone attempting to create an authentic cultural representation of the traditional story, and seriously overreaching. In the forward, Kimmel states that, “The Three Little Tamales is a story of ‘The Three Little Pigs’ with a Mexican flavor.” If that is the case, the story should be set in Mexico, or the broader Southwest, not specifically in Texas.

There are other issues that are equally difficult to swallow. In the bow to culturalism, Kimmel creates characters that are not quite believable. While it is easy to believe anthropomorphic pigs, or other animals, talking, moving, sentient food doesn’t have the same flavor (no pun intended).  In addition, the three tamales are portrayed as the sexy female, the vacuous male, and the smart female. There is no problem with any of these characters on the surface - they reflect human traits. However, apparently one can only be a sexy tamale if one has a hair ribbon, long lashes, and lipstick. On the other side of things, a smart tamale needs to wear hugely rimmed glasses in order to look intelligent. Of course, the use of these stereotypes was in the hands of Dolores Docampo, and that is where the blame should lie.

On the positive side, Kimmel has some enchanting phrasing as Señor Lobo knocks at each door. The tamales each respond with their own clever rhymes, with slightly different phrasing in each response in order to keep it interesting. Señor Lobo tries to have the last word with the tamales, saying, “I’ll huff and I’ll puff like a Texas tornado and blow your casita from here to Laredo!” The use of familiar phrasing ensures that children will be joining in each time Señor Lobo makes his threats.

Kimmel also invokes the reader’s senses in the use of such words as “sweet smell of sage” and the “music of cornstalks.” The cacti in the desert are “bristling with thorns” and Señor Lobo yelps “Ay! Ay! Ay!” as he crosses the roof of the third tamale’s casita.

Valeria Docampo’s beautiful illustrations are a pleasure to behold. They are bold and colorful, leaving no white space on the page. Docampo is generous with her use of greens, blues, and browns, creating pictures that are detailed, yet simplistic. The first tamale’s dramatic hand to forehead captures the essence of all the heroines in literature who were ever threatened by the evil villain. A non-reader will easily be able to retell The Three Little Tamales with Docampo’s illustrations for support.

PERSONAL OBSERVATIONS

While I am not enamoured of Kimmel’s variant of The Three Little Pigs, with each reading it has grown on me a little more. This, I believe, is due to two things. The first is the illustrations. They are clean and crisp, and are sure to delight a young child. I like that a non-reader would be able to retell this story through the pictures alone. The second is the rhythmic exchanges between the wolf and the tamales. While it is not the traditional “not by the hair of my chinny chin chin,” it flows well and children will be able to easily chime in after hearing the words a time or two.

My concern as I read this book was this need to take a traditional story and force it into a cultural mold. I agree that each culture’s folktales need to be respected and honored and shared amongst cultures. I just don’t know that I agree that it needs to be done in this manner. What would have been the problem with telling the story of the three pigs using a Southwestern flavor, or just simply translating it into Spanish? When I read a Russian folktale, for instance, I don’t see a need to have the tale set in the United States or for it to have an American twist to it. I like to read Russian folktales, or any other for that matter, because of what they are—tales from a culture other than my own.

REVIEW EXCERPT(S)

Best Children’s Book of the Year 2010 Bank Street College of Education

Children’s Core Collection 2009

School Library Journal: “The colorful artwork combines with a text brimming with humor and sound effects (“Ay! Ay! Ay!”) for a delightful parody sure to satisfy readers’ appetite for fun.”

Society of School Librarians International Book Awards 2009 Honor Book

CONNECTIONS

• This book would also be a great addition to a book study of the many versions of the three pigs. Other versions to include might be:

§  Marshall, James. The Three Little Pigs. ISBN 9780448422886

§  Trivizas, Eugene. The Three Little Wolves and the Big Bad Pig.

ISBN 9780689815287

§  Wiesner, David. The Three Pigs. ISBN 9780618007011

• For those interested in building and construction, this version of the three pigs, along with any others, would be a fun jumping off point for introducing types of houses and building materials. Students could construct houses of different materials and take turns “huffing and puffing” to see which houses are made of the sturdiest materials.
• This variant of the three pigs would lend itself well to a study of Mexican folktales, or a study of how a folktale can transcend culture. Students could produce their own versions of the three pigs, drawing on their own families’ cultural background. Some Mexican folktales to consider are:

§  Philip, Neil. Horse Hooves and Chicken Feet: Mexican Folktales. ISBN

9780618194636

§  Hayes, Joe. The Day It Snowed Tortillas/El Dia Que Nevaron Tortillas, Folktales Told In Spanish and English. ISBN 9780938317760

§  Hayes, Joe. El Cucuy: A Bogeyman Cuento in English and Spanish.

ISBN 9780938317784

• This book would also be a great book to tie in with Mexican cooking. A guest cook could demonstrate tamale and tortilla cooking, and the students could experience making their own tortillas.

There Was An Old Lady Who Swallowed A Fly

BIBLIOGRAPHY

Taback, Simms. 1997. There Was An Old Lady Who Swallowed a Fly. New York: Scholastic, Inc. ISBN 0590631888

PLOT

Simms Taback has taken a popular American folk poem and turned it into a delightful montage of pictures that follows an old lady as she consumes one animal after another, beginning with a fly. Taback’s use of collage and diecuts are what makes this traditional poem sing. As the animals grow successively larger, so does the old lady. Through the accompanying illustrations, the reader experiences the running commentary of those about to be swallowed. Taback’s use of diecuts allows the reader to see each animal swallowed, as well as those previously ingested. The moral at the end of the story is a silly one, but one that can be used to start discussions about greed and avarice.

CRITICAL ANALYSIS

Simms Taback has created a masterpiece in illustrating this American folk poem. The words are amusing, and the impossibility of anyone doing what the old lady did will amuse children of all ages. The true beauty of this book, however, is in Taback’s use of mixed media that will entrance children and adults alike. The vivid colors pop against the alternating black and yellow backgrounds. Children will love the way in which Taback uses diecuts to show each animal as it is swallowed. Through the use of diecuts, Taback builds the story, moving it forward. In the first picture, the reader sees the old lady’s empty stomach; as soon as the page is turned, there is the fly, visible in the cut-out. As she swallows the spider, the reader can see the fly. Turn the page, and there are the fly and spider together in her stomach. The illustrations progress in this manner until the end, when the old lady finally bites off more than she can chew.

Taback has a little something going on on the side for the adults. The animals who are about to be consumed keep up a running commentary about the old lady throughout the pages. There are newspapers with headlines relevant to the time in which this work was produced. Species of birds and dogs are identified in the illustrations in which they appear. Each rereading of the story allows for the discovery of something new.

There Was An Old Lady Who Swallowed a Fly is a book that can be read aloud or, for those who know the tune, sung. In either case, everyone will be able to join in, as the poem uses repetition to recount what the old lady swallowed and why: “She swallowed the bird to catch the spider. She swallowed the spider to catch the fly. I don’t know why she swallowed the fly. Perhaps she’ll die.”

PERSONAL OBSERVATIONS

I discovered Simms Taback a few years ago when I read Joseph Had A Little Overcoat. I really enjoyed reading that book with my son. When I saw the opportunity to read another of Taback’s books, I was thrilled. While I do not care for There Was An Old Lady Who Swallowed a Fly quite as much as I enjoyed Joseph, it is a fun book, and has a lot of potential for sharing with children. I like the sequential nature of the folk poem, and I love Taback’s artwork. The diecut that allows the hole in the old lady’s stomach to grow and to show each animal that is swallowed is genius.

REVIEW EXCERPT(S)

Best Children's Books of the Year, 1998; Bank Street College of Education; 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: “Taback takes the song to new heights in his interpretation…It’s a wild and wacky version that offers lots of colorful visual humor.”
Notable Children's Books, 1998; ALSC American Library Association; United States
Publishers Weekly Book Review Stars, August 1997
School Library Journal Book Review Stars, December 1997: “All in all, this illustrator provides an eye-catching, energy-filled interpretation that could easily become a classic in itself.”

New York Times Best Illustrated Children's Books of the Year, 1997 Winner United States
Randolph Caldecott Medal, 1998 Honor Book United States
Society of School Librarians International Book Awards, 1998 Honor Language Arts - Picture Books United States

CONNECTIONS

ü  There are many different versions of There Was An Old Lady Who Swallowed a Fly. Do a comparative study of the different versions. Students could even create their own versions. Some other books by the same (or similar) name are:

·      Arnold, Tedd. Fly Guy #4: There Was An Old Lady Who Swallowed Fly Guy. ISBN 9780439639064

·      Brighter Child (compiler). There Was An Old Lady Who Swallowed a Fly: Pop-Up Storybooks. ISBN 9780769662145

·      Colandro, Lucille. There Was An Old Lady Who Swallowed a Chick.  ISBN 9780545161817

·      Holmes, Jeremy. There Was An Old Lady Who Swallowed a Fly. ISBN 9780811867931

ü  In order to practice sequencing, use Taback’s book with A Fly Went By by Mike McClintock, ISBN 9780394800035

ü  Find the Raffi version of this song and sing along! Raffi can also lead to a whole new discussion of childhood songs that bridge many cultures.

ü  Conduct a retrospective of Taback’s work. Taback died on December 25, 2011. Study his other books and his artwork.