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.

City Dog, Country Frog

BIBLIOGRAPHY

Willems, Mo. 2010. City Dog, Country Frog. Ill. by Jon J. Muth. New York: Hyperion Books. ISBN 9781423103004

PLOT SUMMARY

City Dog, Country Frog is a new take on the classic Town Mouse, Country Mouse theme. In this wonderfully simple version, Mo Willems takes us through the seasons of friendship. In the spring, Dog meets Frog for the first time, and through spring and summer, they teach each other about themselves. The fall is a time for remembering. Winter finds Dog dealing with change and loss. With the advent of a new spring, Dog discovers a new friendship that will blossom with the seasons.

CRITICAL ANALYSIS

This book is wonderful as both a read-aloud and as a silent read. Mo Willems’ simple, yet beautiful language speaks to all generations. The reader is taken through the seasons of friendship, which coincide with the seasons of the year. Each season brings a new level to the developing friendship between Dog and Frog.

Joy and sadness are expressed in Jon J. Muth’s delicate watercolors. The poignancy of the main characters expressions and body language are evident on each page. The seasons pass not only through the text, but also in the scenes depicting the new birth of spring, the verdant green of summer, the flaming colors of fall, the cold white of winter, and the return of spring flowers.

As the seasons change, so do Dog and Frog. The birth of a friendship gives way to the building of memories, memories that Frog encourages Dog to hold onto as they head into winter. Grownup readers will understand what Frog is preparing Dog for, while younger readers may not understand why Frog has disappeared from the story.

The concept of loss is done in such a subtle way that the young child is unlikely to truly grasp it. If she does question what is happening, the adult(s) around her can use this book as a starting point to talk about death and/or life cycles. The language is uncomplicated and reflected in Muth’s artwork. The illustrations are clean and crisp, with just the right amount of detail. The emphasis is on the expressions of the characters, not on filling the page with distractions.

All readers will be taken with the beauty of this story, which portrays, with simplicity and grace, friendship, love, and loss between two seemingly vastly different characters.

PERSONAL RESPONSE

I first read City Dog, Country Frog out loud at a faculty meeting four months ago as part of a presentation done by a fellow teacher. While the connection to her presentation is now lost to me, this book has stayed with me. I love everything about it.

REVIEW EXCERPT(S)

Starred review: Booklist: “This wonderful collaboration makes a significant impact with subtlety and wit.”

School Library Journal: “ Making expert use of color and texture, Muth's expressive paintings clearly convey the tale's emotional nuances.”

ALA ALSC Notable Children's Books (2011)

Booklist Editors' Choice Books for Youth, 2010
Charlotte Zolotow Award, 2011 Honor Book United States
Choices, 2011; Cooperative Children's Book Center; United States
Kirkus Best Children's Books, 2010; United States
Kirkus Book Review Stars, May 15, 2010
Publishers Weekly Best Children's Books: Picture Books (2010)

CONNECTIONS

• Make this book part of an author/artist study.
• This book brings to mind the book Frederick by Leo Lionni. Frederick gathers memories to share in the dark of winter. Children could make simple memory books after reading both stories.
• This book could be part of a study about life/season cycles. Books to use in conjunction with City Dog, Country Frog could include:

·      Glaser, Linda. Dazzling Dragonflies: A Life Cycle Story. ISBN 978-0822567530

·      Royston, Angela. Looking at Life Cycles: How Do Plants and Animals Change. ISBN 978-0766030916

• Do a comparative study between City Dog, Country Frog and a more traditional version of the story, such as

·      Brett, Jan. Town Mouse, Country Mouse. ISBN 978-0698119864

·      or

·      Davidson, Susanna. Town Mouse and the Country Mouse.

ISBN 978-0794518776

Dave the Potter

BIBLIOGRAPHY

Hill, Laban Carrick. 2010. Dave the Potter: Artist, Poet, Slave. Ill. by Bryan Collier. New York: Little, Brown and Company. ISBN 9780316107310

PLOT SUMMARY

In Dave the Potter, Laban Hill captures the essence of Dave, a slave whose work is that of a potter. Hill’s story is two-fold: it follows the making of a pot from dirt to finished product, while allowing the reader to see Dave’s journey as an artist, poet, and slave. The author’s essay at the end of the story provides background information about Dave, his pots, and his poetry.

CRITICAL ANALYSIS

This book is just as much author Hill’s journey, as it is Dave’s. Hill became entranced with Dave after attending a conference in 2003. His exploration into Dave and his art has allowed him to produce a masterful poetic work. The reader senses conflict on several levels throughout the story. Conflict is evident in the throwing of the pot - in the taking something from the earth and working it and shaping it into something new. Conflict is also evident in Dave’s apparent autonomy, which is not really his to have. He is a potter who reads and writes; yet he is still a slave.

This book is meant to be read aloud. It is in the spoken word that one can truly appreciate the flow and cadence of Hill’s words.

The author’s use of figurative language adds to the poetic nature of the story; however, some of the illusions may be too difficult for a young child to understand. For example, the author refers to the potter’s wheel spinning “as fast as a carnival’s wheel of fortune.”

This main body of the book leaves the reader with many questions and a desire to learn more. How did Dave learn his craft? How did he learn to read and write? Were there other slaves who were allowed to develop their artistry? Fortunately, the author has included an essay about Dave that provides some of the answers. The author also shares his journey from the time he first learned about Dave to the writing of the book.

Collier’s beautiful illustrations alone tell a story. Though the colors are almost monochromatic in some areas, they are deep and rich. Texture is evident throughout the book. It is through the illustrations that one gets a sense of time. One can see the pot as it grows beneath Dave’s hands. In many places throughout the book, the background depicts the slave’s life. In his dedication, Collier states, “…this story is really about the power of the human spirit, artistry, and truth, and that cannot be silenced by bondage of any kind.” It is this power of human spirit that Collier captures in his illustrations.

PERSONAL OBSERVATIONS

This book was not my first choice of book to read. However, it was the one I was able to find at my local library, and I feel fortunate that I was led to this book.

My initial reading of Dave the Potter was a silent read. While the text raised the questions mentioned above, it was the pictures that captured my imagination. I was struck by the beauty and strength of each one. As a person who loves texture, I loved the ‘feel’ of texture on each page.

I then took the book to school and read it to my second grade class. My preconceived notion was that this was not a book they would particularly like. I learned two things from this experience. The first is that it is in reading this book aloud that one truly experiences the beauty of the words. They are meant to be spoken. Whereas on my initial read I was taken with the illustrations, on my second, oral reading I was able to see how the words and pictures together create a balance between the spoken word and the graphics.

The second thing that I learned was to never underestimate a second-grader. You could have heard a pin drop as I was reading, in addition to the occasional “wow”. The kids loved it, and had many questions about Dave. As they examined each picture, they picked up on the texturing and the ‘layered’ look of the background. They were very observant of the details in the pictures.

REVIEW EXCERPT(S)

Caldecott Honor Book 2011

Coretta Scott King Award 2011

School Library Journal: “Outstanding in every way.”

Booklist: “A beautiful introduction to a great lost artist.”

CONNECTIONS

Ø  This book would be an excellent choice to begin Black History Month.

Ø  For older students who are interested in learning more about Dave, Leonard Todd has written a biography of Dave entitled Carolina Clay: The Life and Legend of the Slave Potter Dave.

Ø  This book offers the opportunity to discuss couplets in poetry: using few words to say much. It could be an interesting exercise for students of all ages.

Ø  Dave the Potter could also be used to launch a unit on pottery and/or art.

Ø  Age-appropriate research skills could be taught in conjunction with this book.

Ø  This book might be a good springboard for a lesson on oral history.

Ø  Other books for Black History Month include:

Williams, Vera. A Chair for My Mother. ISBN 978-0688040741

Pinkney, Andrea & Pinkney, Brian. Bill Pickett: Rodeo Ridin Cowboy.

ISBN 978-0152021030

Ø  More books related to Black History Month can be found at http://www.readingrockets.org/articles/books/c384/

Eloise

BIBLIOGRAPHY

Thompson, Kay. 1955. Eloise. Ill. by Hilary Knight. New York: Simon and Schuster. ISBN 067122350X

PLOT

Kay Thompson’s Eloise is the classic story of the precocious six-year old Eloise who lives at the Plaza Hotel. Eloise’s sense of fun and adventure cause her to skibble and skitter all over the hotel, getting into and out of scrapes. Eloise experiences very little adult supervision; this appeals to the six-year old in each of us who longs to break free and break rules just as Eloise does on a regular basis.

CRITICAL ANALYSIS

Eloise has long been considered a classic in children’s literature. Through her writing, Thompson portrays Eloise as a rambunctious, spirited, mischievous, and curious six-year old who experiences the freedom of an absent mother. Eloise, as portrayed, has a strong sense of self.

Thompson’s text is without punctuation. By not using punctuation Thompson seems to capture the essence of Eloise as she dashes from one mishap to another. However, the lack of punctuation can make reading this story aloud somewhat of a challenge, as it is difficult to find the cadence. This might be yet another way that Thompson tries to depict just who Eloise is - just when you think you have figured something out about this little girl, she shows another side to herself.

Hilary Knight’s drawings are simple, yet profound. He accurately captures Eloise in all her moods. By using a narrow color palette consisting of black, red, white, and shades thereof, Knight focuses attention on Eloise and her surroundings; the busyness in the pictures is all Eloise; she is not lost in a plethora of vibrant and overwhelming colors.

While Eloise is a fun and amusing character, the book does have shortcomings. At 65 pages long, Eloise is twice the length of a standard picture book. More than a few pages have well over 100 words on them, in small, cramped text. The average small child would have difficulty in sitting and listening to such a lengthy story, or in reading it independently.

Another shortcoming of Eloise is that the cultural references, both in the text and the graphics, would be lost on most children. The concept of living in a high-end hotel is foreign to children, as are many of the images connected with such a place. Eloise imitates her English nanny’s accent, using words such as ‘rawther’ and ‘cawn’t’, which do not resonate with children. Both the Plaza and English nanny fall into the realm of elitism, though Eloise’s precociousness overpowers these issues.

PERSONAL RESPONSE

I am torn as to how I feel about this book. It is not one that I particularly remember from my own childhood, but Eloise is a character with whom I am long familiar. I like the fun and spontaneity of Eloise, though at times, as I read the story, I thought, “What a brat.” Mostly, I feel sorry for what is essentially
a motherless child.

I read this book to my second grade class. They thought it was really funny, and loved the interaction between Eloise and her tutor. They had fun joining in as Eloise imitates the tutor. Unfortunately, they ‘rawther’ behaved like Eloise for the rest of the day.

I think that kids get the surface humor of a young child being mischievous, but probably not the deeper meanings of a child whose mother is absent, who spends her days seeking attention; only to find the love she needs from her nanny. 

REVIEW EXCERPT(S)

Top 100 picture books SLJ 2009

CONNECTIONS

ü  Eloise could be grouped with other books about places in which people live. For example:

·      The Family Under the Bridge by Garth Williams and Natalie Savage Carlson

·      The House I Live In: at Home in America by Isadore Seltzer

ü  Arrange a study of books illustrated by Hilary Knight; examine how his illustrations have changed over time. Look for similarities to the Eloise books.

ü  Read all the Eloise books and hold a movie festival of Eloise movies.

ü  Study other strong girl figures in children’s picture books: Madeleine, Clementine, and Olivia, for example.