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15,400 | 11 | A Message of Ancient Days (Houghton Mifflin Social Studies, Level 6); Title: A Message of Ancient Days (Houghton Mifflin Social Studies, Level 6) | [
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15,401 | 1 | PW enjoyed the "witty and whimsical verses" that tell the tale of a desert-dwelling duck who receives on his birthday water paraphernalia--and an inflatable pool in which to try them out. Ages 2-5. Copyright 1990 Reed Business Information, Inc.; Title: Happy Birthday, Dear Duck | [
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15,402 | 17 | Fans who grew up with any of Peet's more than 30 books-- Pamela the Camel ; Zella, Zack and Zodiac ; Chester the Worldly Pig among them--or with any of the Disney movies he worked on--such as Cinderella , Dumbo , Pinocchio , 101 Dalmatians --will welcome this inside look at the creative process. Peet wryly tells the story of his life, from his boyhood in Indianapolis to his years working at the Disney studios. He started as an "in-betweener," who had the "tedious, painstaking job of adding hundreds of drawings in between hundreds of other drawings to move Donald or Mickey from here to there." The job lasted until the day a stack of Donald Duck drawings caused Peet to run from the office, shouting "NO MORE DUCKS!!! NO MORE LOUSY DUCKS!" Promoted to the story department, he was often the imaginative force behind ideas for which story editors claimed credit in front of Walt Disney; his work at the studio lasted 27 years, during which time his children's book career took off. Readers will come away with a Peet's-eye view of the Depression, and also of the drudgery and politicking of office life--and he completely demystifies the glamour side of working in Hollywood. The illustrations--samples from his Disney sketches and pictures of him involved in nearly every facet of human experience--offer a humorous guide to adult life that readers of all ages will surely respond to. Toward the end, Peet spells out for readers what he believes has been the course of his life, and these pages are a little too baldly introspective compared to what has come before. Nevertheless, he offers an ebullient invitation to survey his life, a dip into an inkpot of entertaining facts. And the format could inspire a whole new kind of autobiography--since an illustrator "thinks" visually, using pictures to tell his life story seems positively inspired. Ages 8-12. Copyright 1989 Reed Business Information, Inc.Grade 3 Up-- Peet's long shelf of popular picture books are familiar to library patrons; his long career as an artist for the Disney studios may not be so well-known. All of this and more is covered in this enthusiastic and heart-felt autobiography. The format is similar to James Stevenson's When I Was Nine (Greenwillow, 1986)--a picture book with autobiographical text and profuse illustrations in the familiar style of the author/subject--but while Stevenson describes only a short period in his life, Peet starts with his earliest memories and continues up to the present. Beginning with a traditional Midwestern town and country boyhood, the book follows Peet through high school, into art school, on to local prizes for his paintings, and eventually to an invitation to "audition" for the Disney studios, where he eventually worked on Snow White , Dumbo , Sleeping Beauty , and many more films. At the same time, he struggled at home with the picture-book format for his art, finding himself with reams of picture stories but at a loss for words to accompany them. Every page of this oversized book is illustrated with Peet's unmistakable black-and-white drawings of himself and the people, places, and events described in the text. Familiar characters from his books and movies appear often. The fascinating subject matter will encourage readers to finish the lengthy text. The pictures tell their own story and can be appreciated on many levels. An excellent choice for inspiring young gifted and talented students as well as for general readers. --Susan L. Rogers, Chestnut Hill Academy, Pa.Copyright 1989 Reed Business Information, Inc.; Title: Bill Peet: An Autobiography | [
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15,403 | 1 | "Oh, Mom," says Harry, arriving home with a wounded bird in his arms. "Oh my!" responds his mother, in the sort of understatement found--in words and pictures--throughout this delightful book. It is clear that Harry's broken-winged bird, whom he names Sally, is no ordinary sparrow or pigeon. She is, according to the boy's bird book, a Green Tufted Tropical, a species that cannot tolerate cold weather. This concerns Harry, as winter is on its way. But something else arrives first: an enormous flock of Green Tufted Tropicals, anxious to find Sally. Harry tries everything, but he can't get the persistent creatures to leave their perch in a tree outside his window. When the temperature drops and the first snowfall is forecast, the chattering birds turn blue, but Harry comes to their rescue in an unexpected way. Meddaugh strikes just the right balance between the absurd and the credible in this fanciful tale; children will reach for it again and again. Ages 5 - 8. Copyright 1990 Reed Business Information, Inc.PreSchool-Grade 2-- When Harry meets Sally, an injured bird of doubtful species, he takes her home and nurses her back to health. Sally soon recovers, but Harry is reluctant to part with his "Green Tufted Tropical" despite his mother's warning that Sally "belongs with her friends." "I'm her friend," says Harry. A flock of Sally's feathered friends follow Harry to and from school and congregate outside his window, anxiously awaiting her release. Stubbornly refusing to give Sally up, Harry worries that the others may die if they stay until the first snow, and tries to chase them away. In a twist ending, instead of letting Sally go, Harry has the whole flock of birds winter in his room. The humorously expressive watercolor cartoons are well matched with an easy-to-read text, which should make this slight but charming story a real crowd pleaser. --Ruth Smith, Chicago Public LibraryCopyright 1990 Reed Business Information, Inc.; Title: Tree of Birds | [
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15,404 | 11 | Hardcover textbook.; Title: Houghton Mifflin Social Studies: America Will Be Level 5 | [
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15,405 | 3 | About this fantastical yarn, PW said "the unpredictable outcome rounds out the fun and embodies a kernel of good sense, showing the advantages when wiser heads prevail." Ages 4-8. Copyright 1990 Reed Business Information, Inc."The unpredictable outcome rounds out the fun and embodies a kernel of good sense, showing the advantages when wiser heads prevail." -- Review; Title: Jethro and Joel Were a Troll | [
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15,406 | 5 | "Carrick's landscapes . . . beautifully capture the mood of the eloquent and enchanting story," said PW of this retelling of a North Carolina folktale about an old man who disowns his youngest daughter but ultimately comes to accept her. Ages 3-8. Copyright 1990 Reed Business Information, Inc.; Title: Moss Gown | [
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15,407 | 0 | PreSchool-Grade 3-- A collection of fables, folk tales, and poems, as well as excerpts from Alice's Adventures in Wonderland , Pinocchio , The Wind in the Willows , The Nutcracker , and Peter Pan . Paintings by 16 different artists accompany the selections. Much of the art is highly reminiscent of the romantic works of 19th-century illustrators; some paintings actually have the same palette, arrangement of figures, and characters found in earlier artistic interpretations of these stories. Unlike Edens's The Three Princesses (Bantam, 1991) and The Glorious Mother Goose (Atheneum, 1988), which include early illustrative renderings of these works, this book holds little historical interest. It seems to be designed for home collections rather than for libraries, which will have all of these selections in many other sources. --Barbara Chatton, College of Education, University of Wyoming, LaramieCopyright 1993 Reed Business Information, Inc.; Title: A Treasury of Children's Literature | [
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15,408 | 3 | "The story's ending is a real treat. Colorful pictures add mirth to the swift verses." -- Review; Title: The Kweeks of Kookatumdee | [
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15,409 | 11 | David Macaulay connects the seemingly unconnected in this playful, witty collection of overlapping stories. Young readers must listen and watch carefully in order to track one story's clues that later pop up in another story. For example, Albert and his horse June take a shortcut over the railroad tracks on their way to sell melons at the market. Because they get there so early they are able to go home sooner than planned. Three chapters later, Albert and June's efficiency leads to another character's disappointment... and even a run-in with the law. Then there's poor Professor Tweet, who runs afowl of a hot-air balloon ride. But a few chapters later we discover that Professor Tweet's misfortune has lead to another man's most excellent fortune! Macaulay's characters are thoroughly engaging, such as the horse June, who wears curlers in her mane and likes to kick back in front of the TV. Many know Macaulay as the master of pen-and-ink detail, but here he proves himself as a versatile color artist, offering a richly blended palette and unusual visual perspectives. A funny, child-friendly shortcut into the study of cause and effect. (Ages 5 and older) --Gail HudsonIn nine brief "chapters" energetically telegraphing seemingly disparate adventures, Macaulay comments wryly and wittily on happiness, happenstance and storytelling itself. Albert and his horse, June, travel to the weekly market to sell melons-their trip seems unremarkable enough, yet their simple acts, such as tossing a coin over a bridge for luck or untying a rope that blocks the road, set Macaulay's tiny clockwork universe into motion. Only the vibrant, hilariously detailed illustrations connect Albert and June's trip to the vignettes related in subsequent chapters. The rope that Albert removes, for example, unmoors Professor Tweet's hot air balloon; as Tweet drops ballast to avoid crashing into a town, he capsizes Bob's rowboat below; what Bob discovers as he splashes to the bottom of the river brings the tale back full circle to Albert's tossed coin. As in the author/artist's most recent books, he plays with nonlinear storytelling, looping the chapters in and out of sequence and overlapping the tales in unexpected ways. His illustrations, alternately recalling the vertiginous views of Cathedral and the inspired silliness of Baaa, make a perfect marriage of comedy and chaos. All ages. Copyright 1995 Reed Business Information, Inc.; Title: Shortcut | [
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15,410 | 0 | "The author expertly conveys the flavor of the significant Gettysburg context as well as the issues central to the war itself and opinions held by adherents of both sides." Booklist, ALAN. A. Perez was born in Haileybury, Ontario, Canada. The idea for The Slopes of War took shape after a family visit to Gettysburg, Pennsylvania. Touched by the terrible and significant battle that had been fought there, the author felt that although much had been written about the event itself, little had ever captured what was going on in the hearts and minds of the residents when the war rumbled to their doorsteps in July 1863.; Title: The Slopes of War | [
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15,411 | 2 | Two-time Caldecott Medalist Van Allsburg reaches a new pinnacle of excellence in both illustration and storytelling in his latest work. Since his first book, The Garden of Abdul Gasazi, appeared just over a decade ago, he has spun many strange and fantastic modern fairy tales, all of which spill over the edge of reality into magnificent dreamscapes. Here Van Allsburg introduces Walter, a boy who imagines the future as a marvelous time, with tiny airplanes that can be parked on the roof of your house and robots that take care of all your work for you. In the present, however, Walter is a litterbug who can't be bothered to sort the trash for recycling and laughs at Rose, the girl next door, because she receives a sapling for her birthday. One night, when Walter goes to sleep, his bed travels to the future. But he finds neither tiny airplanes nor robots, only piles of trash covering the street where he used to live, acres and acres of stumps where forests used to stand, rows and rows of great smokestacks belching out acrid smoke, and many other environmental nightmares. Van Allsburg renders each of these chilling scenarios in elaborate, superbly executed two-page spreads that echo the best work of M. C. Escher and Winsor McKay (creator of the Little Nemo comic strips). Walter and his bed land right in the middle of the action in each of these hallucinatory paintings, heightening the visual impact and forcing a hard look at the devastation surrounding Van Allsburg's protagonist. An awakened Walter, jolted by his dream, changes his ways: he begins to sort the trash and, like Rose, plants a tree for his birthday. Then his bed takes him to a different future, one where people tend their lawns with powerless mowers and where the trees he and Rose have planted stand tall and strong beneath a blue sky. Not only are Just a Dream 's illustrations some of the most striking Van Allsburg has ever created, but the text is his best yet. Van Allsburg has sacrificed none of the powerful, otherworldly spirit that suffuses his earlier works, and he has taken a step forward by bringing this spirit to bear on a vitally important issue. His fable builds to an urgent plea for action as it sends a rousing message of hope. All ages. Copyright 1990 Reed Business Information, Inc.Grade 2-5-- Walter, an environmental ignoramus of a 10 year old, is careless or scornful of such elementary actions as recycling or tree planting. One nightmarish evening, however, he visits a future where his daydreams of technological paradise are demolished. Instead, there is merely a horrifically exacerbated continuation of today's eco-problems: landfills, expressways, smog, lifeless oceans, and vanished wilderness. Walter awakens reformed, and is rewarded with another dream: the future redeemed. As the story exhibits Van Allsburg's "signature" character (a child free of adult supervision) and plot (the dream-vision), so the pictures display the hallmarks of the artist's style: bird's- and worm's-eye perspectives, dramatic lighting effects, some geometric simplification of forms. Wordless double-page spreads alternate with pages of text and small vignettes. The abstract beauty of the images produces a curious tension with the idea of a barren and ugly future; the stylized orderliness of the art is itself eerily disturbing. That this depicts the nightmare of a child may excuse some inconsistencies (in an utterly ruined environment would trees still be cut down for toothpicks?), but the real disappointment comes at the end. Walter's utopian vision is an unchildlike nostalgia trip: a suburban reprise of the '40s. Such a sentimental and parochially narrow vision of a future for a privileged few is the chief failure of this well-meaning effort. --Patricia Dooley, University of Washington, SeattleCopyright 1990 Reed Business Information, Inc.; Title: Just a Dream | [
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15,412 | 11 | For Sarah and Susan, a visit to their great-great-aunt Flossie is a literal and figurative feast. After tea and cookies, and before crabcakes, they are permitted to look through Aunt Flossie's prodigious collection of hats and try on their favorites. "Each hat has its story," says Aunt Flossie, as she relates tales of the old days--the big Baltimore fire, the parade at the end of WW I and, best of all, a story the girls can help tell because they are in it. This is an affecting portrait of a black American family and of the ways in which shared memories can be a thread, invisible yet strong, that ties generations together. Howard's ( Chita's Christmas Tree ) quiet, sure telling is well matched by Ransome's ( Do Like Kyla ) art--elegant, expressive oil paintings that convey warmth, joy, tenderness and love. Ages 3-6. Copyright 1991 Reed Business Information, Inc.Kindergarten-Grade 2-- On Sunday afternoon, two little girls visit their Great-great-aunt Flossie, whose house is full of books, pictures, and "boxes and boxes and boxes of HATS," each of which has a story to go along with it. A woolly winter hat still smelling faintly of smoke was worn by Aunt Flossie when, as a child, she witnessed the great Baltimore fire. The dark blue one with a red feather was perched on her head when, as a young woman, she watched a parade welcoming home black veterans of World War I. These reminiscences paint an interesting portrait of regional African-American history, but the highlight of the book is the girls' favorite story, which features themselves and the day the wind blew Aunt Flossie's best Sunday hat into the river. Based on Howard's memories of her own feisty, 98-year-old aunt, this is a lyrical, entertaining story that rings with authenticity. Ransome's distinguished oil paintings are gorgeous, but frustratingly dark at times. A compelling book that will draw readers back again and again. --Anna DeWind, Milwaukee Public LibraryCopyright 1991 Reed Business Information, Inc.; Title: Aunt Flossie's Hats (and Crab Cakes Later) | [
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15,413 | 2 | <div>"A true picture, both happy and sad, of the experience." School Library Journal, Starred</div> --School Library Journal<div>Marcia Sewall, the author and illustrator of many award-winning picture books, is a lifelong resident of New England.</div><div>Jane Resh Thomas has written more than a dozen fiction and nonfiction books for young readers, including the highly praised BEHIND THE MASK for Clarion. She lives in Minneapolis, Minnesota.</div>; Title: Saying Good-bye to Grandma | [
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15,414 | 2 | Bunting's touching story of an unexpected birthday treat contains a subtle message about adult literacy; PW said, "Carrick's glowing watercolors are the perfect partner to this story of a warm and loving family." Ages 3-8. Copyright 1990 Reed Business Information, Inc.; Title: The Wednesday Surprise | [
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15,415 | 11 | A family flees its native country in a small boat and lands in America on a particularly appropriate holiday; PW called this "a Thanksgiving story that knows no season or race, but is for everyone all year 'round." Ages 3-8. Copyright 1990 Reed Business Information, Inc.; Title: How Many Days to America?: A Thanksgiving Story | [
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15,416 | 0 | Why are things the way they are? Why do some animals behave the way they do? Why doe a cat purr? There are many was to answer these questions. Some answers are scientific. Some answers are imaginatie. Imaginative answerw may be told in stories and myths passed down from one generation to another. These tales are often called pourquoi tales. The word pourquoi is French. It is pronounced poor kwah and means "why." In this book you will discocer several different things about animals.; Title: Pourquoi Tales: The Cat's Purr, Why Frog and Snake Never Play Together, the Fire Bringer | [
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15,417 | 2 | Kindergarten-Grade 3-- "My dad and I live in an airport . . . the airport is better than the streets." As they did in The Wall (Clarion, 1990), Bunting and Himler successfully present a difficult subject in picture book format. A small child narrates the facts of his homeless existence--sleeping sitting up, washing in the restroom, and above all, avoiding being noticed. The brief text runs through all his emotions from a matter-of-fact acceptance to a fierce longing that makes him angry at those who have homes. Using subdued watercolors, Himler conveys the vast, impersonal spaces through which father and son move. He often places them at the back or edge of the pictures, underscoring their need to go unnoticed. This is a serious story but not an overpoweringly grim one. There is a reassuring togetherness between father and son and although there isn't an easy, happy ending, it does conclude on a poignant yet believable note of hope. Both illustrator and author focus on giving the child's-eye view of the problem, and their skill makes this a first-rate picture book that deserves a place in all collections. --Karen James, Louisville Free Public Library, KYCopyright 1991 Reed Business Information, Inc."A first-rate picture book that deserves a place in all collections. Sure to spark discussion." School Library Journal, Starred; Title: Fly Away Home | [
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15,418 | 15 | Roger Tory Peterson, one of the world's greatest naturalists, received every major award for ornithology, natural science, and conservation, as well as numerous honorary degrees, medals, and citations, including the Presidential Medal of Freedom. The Peterson Identification System has been called the greatest invention since binoculars, and the Peterson Field Guides are credited with helping to set the stage for the environmental movement.; Title: Peterson First Guide(R) to Clouds and Weather (Peterson First Guides) | [
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15,419 | 0 | Grade 4-6-- Sharply focused and dramatic full-page, full-color photographs are an outstanding feature in this book on the Anasazi people of the American Southwest. Mesa Verde serves as the backdrop and focal point. Photos of the spectacular cliff dwellings can be found throughout, but there are also pictures of archaeologists at work and many of the artifacts that have been found there. Chapters include a description of the discovery of the area by ranchers in the late 19th century and the development of the area into a national park. Readers will also see how painstaking archeology has re-created the probable scenario of how people lived when the area was at its height of development and various theories concerning the fate of the Anasazi. An engrossing introduction to the culture, the place, and the time, and how we have learned about them. --David N. Pauli, Missoula Pub . Lib . , MTCopyright 1992 Reed Business Information, Inc.From roughly A.D. 550 until A.D. 1300, communities flourished in the region where Utah, Arizona, New Mexico, and Colorado now meet. One of the largest was at Mesa Verde, now on the edge of the Ute Mountain Indian Reservation. Called Anasazi- -``ancient ones''--by present-day Navajos, these pastoral, pueblo-dwelling people reached a peak of several thousand and then moved away, leaving cliff dwellings, pots, and the detritus of generations; who they were, where and why they went, and what became of them are mysteries, only slowly yielding to research. Drawing on sources here and abroad, Arnold provides an overview of current knowledge and speculation about the lives and culture of these early people. Aided by Hewett's detailed, beautiful color photos of sites, researchers, and artifacts, she describes their dwellings, tools, crops, and daily living patterns, carefully separating fact from speculation. Attractive and useful. Glossary; index. (Nonfiction. 9+) -- Copyright 1992, Kirkus Associates, LP. All rights reserved.; Title: The Ancient Cliff Dwellers of Mesa Verde | [
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15,420 | 1 | To the imaginative and amusing casts of characters he has created in his more than 30 books, this Caldecott Honor author/illustrator now adds Dudley, a "scraggly-tailed runt of a rooster." Dudley's powerful early-morning crow has made him a favorite of the other barnyard animals, who believe that the rooster is responsible for making the sun come up each day. But Gunther, an ill-tempered old goose jealous of Dudley, tells the other animals that the sun's daily appearance has nothing to do with their hero. Dudley's pals rally round him, exclaiming that it's okay for Dudley to be "terrifically ordinary." But Old Sol still thinks that Dudley is "by far his favorite rooster," and goes to great lengths to prove it. As Peet's readers have come to expect of his work, this latest gem sparkles with good humor. It is certainly a book to crow about. Ages 4-8. Copyright 1990 Reed Business Information, Inc.Kindergarten-Grade 2-- Dudley may be small, but his morning crowing is magnificent, making him the favorite rooster of "old Sol." He is revered by most of his barnyard friends, who believe that his crowing is the magic that brings the sun up. When a jealous goose chases Dudley into the woods, old Sol crossly resolves to stay "set" until his friend crows again, and rise he does, once Dudley's friends restore order. While this story holds the friendship and adventure of earlier Peet books, it lacks the richer language and more fully developed characters and plots of titles such as Chester the Worldly Pig or Eli (both Houghton, 1978). After Dudley's frightening night in the woods and the excitement of Sol's appearance, the ending--the goose's hasty departure--falls a bit flat. Peet's characteristic illustrations continue to delight with his full-of-motion creatures who express the joy, anger, and fear described in the text. Frequent double-page spreads allow a sweep of barnyard and woods for farm animals' interaction and chase scenes. On the strength of its theme and the engaging pictures, this will satisfy Peet's many fans. --Jane Saliers, Atlanta-Fulton Public LibraryCopyright 1990 Reed Business Information, Inc.; Title: Cock-A-Doodle Dudley | [
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15,421 | 2 | The Caldecott Honor recipient for the dreamlike picture book Free Fall offers another work to delight children and spark their imaginations. Wiesner's detailed, exquisitely rendered paintings draw the reader into his story of a hurricane's progress with all the sweep and immediacy of a film sequence. As the sky grays and the leaves swirl by in a "green blizzard," David, George and their parents share a cozy supper by the fireplace. The next morning, the boys discover that a big elm which had stood on their lawn now lies stretched across their neighbor's yard. The old tree becomes the vessel that whisks the pair to adventure, as they joyously explore exotic jungles, confront pirates on the seven seas and travel to the stars. Sometimes they just relax, enjoying "their private place, big enough for secret dreams, small enough for shared adventure." One day, though, reality intrudes as workers arrive to remove the tree from their neighbor's yard. Glum all afternoon, the boys brighten when their dad announces that another storm is on the way: maybe a second tree will fall, this time into their yard! This is an exuberant, absorbing slice of life. Ages 5-8. Copyright 1990 Reed Business Information, Inc.However worrisome for adults and insurers, hurricanes can be the stuff of lifelong memories for children. Wiesner draws on just such memories for this book. It begins in the kitchen, where groceries are being stockpiled, and misses few highlights: the taped glass storm door, supper on the floor in front of the fireplace, a hurricane lamp at bedtime, and excited speculation about what the storm is doing outside the snug house. The brothers here, about seven and ten years old, get a bonus when a big elm blows down. For days it serves as a fantasy prop, becoming a spaceship, a jungle, a caravel--a place "big enough for secret dreams, small enough for shared adventure." This dream ends in a cord of firewood, but another threatened storm brings hope springing eternal. The child-focused, low perspective gives even ordinary scenes an extra measure of drama, and the fantasy spreads are detailed delights. It's fun to find the cat, Hannibal, who registers subtle degrees of disgust, disgruntlement, and hauteur at the disruption of his domain. We wouldn't wish a real hurricane on children, but this book will give them a taste of the magic of the moment when the lights go out. --Patricia Dooley, University of Washington, SeattleCopyright 1990 Reed Business Information, Inc.; Title: Hurricane | [
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15,422 | 1 | "This Philippine tale is told in a direct style which effectively allows Paul Galdone's illustrations to convey the emotional strife between the two characters." NATE-Language ArtsJoanna C. Galdone is the author of many children’s books, including The Tailypo: A Ghost Story, and the daughter of acclaimed author and illustrator Paul Galdone.  Paul Galdone was born in Budapest, Hungary in 1907 and emigrated to the United States in 1928. After finishing his studies at the Art Student League and the New York School of Industrial Design, Mr. Galdone worked in the art department of a major publishing house. There he was introduced to the process of bookmaking, an activity that was soon to become his lifelong career. Before his death in 1986, Mr. Galdone illustrated almost three hundred books, many of which he himself wrote or retold. He is fondly remembered for his contemporary style, bright earthy humor, and action-filled illustrations, which will continue to delight for generations to come.; Title: The Turtle and the Monkey (Paul Galdone Classics) | [
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15,423 | 12 | Bauer offers a pragmatic, organized approach to story writing in this 118-page manual geared for older children and young adults. Concrete, step-by-step tips are effectively illustrated with examples taken from the author's own works-- Face to Face , A Dream of Queens and Castles , Rain of Fire . Eight of the 14 chapters deal with preparatory rituals--finding a special time and place to write, inventing a conflict, understanding what makes a main character tick, figuring out a plot, choosing a point of view--and later chapters address more technical issues of pacing, rhythm and balance. Although the importance of discipline is stressed (learning to write a story is often compared to learning to play a sport or a musical instrument), the exercises and thought processes introduced as groundwork come across as stimulating rather than tedious and may serve to hone analytical skills as well as inspire even the most reluctant writers to try their hand. Ages 10-up. Copyright 1992 Reed Business Information, Inc.An award-winning novelist (On My Honor, 1987 Newbery Honor) and experienced writing teacher cogently discusses her craft. As John Gardner did in The Art of Fiction (1984), Bauer insists on technique and deliberation over inspiration and natural endowment, reminding readers that no musical virtuoso ever captivated without a command of the notes. After spelling out the need to regulate the writing habit, she settles into the nitty- gritty of gathering and expanding ideas; building on characters, plot, and themes; and, yes, mastering grammar, spelling, and punctuation. Her last comment is telling: ``Knowing your craft can help you tell a story. But only by taking risks can you make art.'' After many pages of provocative information and straightforward counsel, that sentence may be the one to launch youngsters to the challenge. The book speaks directly to young writers, but many adults (teachers, librarians, reviewers, editors, would-be writers) will also find this sensible dissection of the storytelling process invaluable. (Nonfiction. 11+) -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.; Title: What's Your Story?: A Young Person's Guide to Writing Fiction | [
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15,424 | 2 | Home becomes elusive in this story about immigration and acculturation, pieced together through old pictures and salvaged family tales. Both the narrator and his grandfather long to return to Japan, but when they do, they feel anonymous and confused: "The funny thing is, the moment I am in one country, I am homesick for the other." Allen Say's prose is succinct and controlled, to the effect of surprise when monumental events are scaled down to a few words: "The young woman fell in love, married, and sometime later I was born." The book also has large, formal paintings in delicate, faded colors that portray a cherished and well-preserved family album. The book, for audiences ages 4 to 8, won the 1994 Caldecott Medal.Say transcends the achievements of his Tree of Cranes and A River Dream with this breathtaking picture book, at once a very personal tribute to his grandfather and a distillation of universally shared emotions. Elegantly honed text accompanies large, formally composed paintings to convey Say's family history; the sepia tones and delicately faded colors of the art suggest a much-cherished and carefully preserved family album. A portrait of Say's grandfather opens the book, showing him in traditional Japanese dress, "a young man when he left his home in Japan and went to see the world." Crossing the Pacific on a steamship, he arrives in North America and explores the land by train, by riverboat and on foot. One especially arresting, light-washed painting presents Grandfather in shirtsleeves, vest and tie, holding his suit jacket under his arm as he gazes over a prairie: "The endless farm fields reminded him of the ocean he had crossed." Grandfather discovers that "the more he traveled, the more he longed to see new places," but he nevertheless returns home to marry his childhood sweetheart. He brings her to California, where their daughter is born, but her youth reminds him inexorably of his own, and when she is nearly grown, he takes the family back to Japan. The restlessness endures: the daughter cannot be at home in a Japanese village; he himself cannot forget California. Although war shatters Grandfather's hopes to revisit his second land, years later Say repeats the journey: "I came to love the land my grandfather had loved, and I stayed on and on until I had a daughter of my own." The internal struggle of his grandfather also continues within Say, who writes that he, too, misses the places of his childhood and periodically returns to them. The tranquility of the art and the powerfully controlled prose underscore the profundity of Say's themes, investing the final line with an abiding, aching pathos: "The funny thing is, the moment I am in one country, I am homesick for the other." Ages 4-8. Copyright 1993 Reed Business Information, Inc.; Title: Grandfather's Journey (CALDECOTT MEDAL BOOK) | [
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15,425 | 11 | This extensively researched account of Egyptian rituals concerning death and burial features maps, diagrams and numerous intriguing photographs. Ages 8-11. Copyright 1990 Reed Business Information, Inc.; Title: Mummies, Tombs, and Treasure: Secrets of Ancient Egypt (Vol 1) | [
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15,426 | 0 | Saru ("monkey") lives by begging in feudal Japan. Orphaned and abandoned, Saru watches the constant battling of the warlords and their hired samurai with disgust. He recalls his adventures as a street urchin--he runs afoul of a band of thieves, then sees them massacred; he spends the winter alone living under the shrine of a minor deity, and makes a true friend in Priest Jogen. It is with Jogen that Saru has his greatest adventure. Despite his prejudice against samurai, the boy concocts a plot to rescue the imprisoned wife of the samurai Murakami. Offering a vivid look at an unusual place and time, Haugaard ( The Samurai's Tale ) has created a character that will linger in the reader's memory. Saru's story is drawn with a verisimilitude that overcomes a potentially alien setting, and makes his reminiscences immediate and sympathetic. Ages 10-14. Copyright 1991 Reed Business Information, Inc.Grade 5 Up-- In feudal Japan, orphan Saru lives by his wits in a city still threatened by the conflict of rival warlords. He spends winter nights under a little-used shrine, with only a stray cat for warmth; eventually, he makes a few friends who change his life. Saru is likable, the other characters interesting, and the story often moving--the little cat is an excellent touch--but this book does not deliver. The plot moves slowly, with repetition of philosophical ideas and devices. The promised Samurai of the title shows up two thirds into the story, while other apparently major characters are set up, and then do not play large roles. The viewpoint is that of the adult looking back, and is sometimes overly mature. While Saru's insights into the plight of women in his society are laudable, they are also anachronistic. The preface is slow-moving and remote, and may alienate readers. The setting, however, is beautifully realized. Haugaard subtly conveys the foolishness of the feuding warlords, and how their behavior affects the common people; he is realistic about poverty without dwelling too much on the lurid details. The philosophy of the Samurai is introduced easily, as are the beliefs of Buddhism. The language unselfconsciously evokes the patterns of Japanese speech. Fantasy readers, primed to enjoy other cultures, may like this, as may those who have enjoyed the works of Katherine Paterson set in Japan, and Lensey Namioka's tales. --Annette Curtis Klause, Montgomery County Department of Public Libraries, MDCopyright 1991 Reed Business Information, Inc.; Title: The Boy and the Samurai | [
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15,427 | 5 | Gr. 4-6. In his introduction, Philip gives Perrault his due as a folklorist who told the tales without "literary embroidery" and as a writer whose retellings are characterized by acerbic wit rather than by sentimentality. This volume includes all 11 tales attributed to Perrault, including his dramatic "Little Red Riding Hood," without a huntsman coming to the rescue, "Sleeping Beauty," in which the princess doesn't live happily ever after until she has endured bitter trials, and the bloody tale of "Bluebeard," as well as lighter stories such as "The Fairies," in which a good girl is blessed with jewels falling from her mouth while her bad sister is cursed with toads springing from hers. The illustrations, line drawings with watercolor washes in delicate hues, are well crafted and, in the best sense, pretty. Though they're a bit misleading, since the writing presents the tales "unprettified," the pictures should attract readers. The volume ends with a biography of Perrault, notes on the translation, and a page or two discussing the origin and history of each tale. Carolyn PhelanAn intelligent new translation of all 11 stories, true to the original (the three verse tales have, sensibly, been rendered as prose, but the morals are in lively verse) and doubly welcome since the only other edition of merit in print (Dover, 1969, paper only) omits three of the tales. Simborowski is a translator and teacher; Philip, a well-regarded folklorist and critic, adds an introduction and extensive scholarly notes on the stories' predecessors and variants. There's also a fine note on ``Translating Perrault'' (``It is hard to convey in English...the splendid brevity...His distinctive wit and elegance are based in succinctness and economy. Many retellings...replace this asperity with a winsome, sentimental air that is entirely absent from the original...''), as well as a generously long bibliography. Holmes's delicate art--decorative grace-notes that occasionally blossom into full-blown illustrations, comfortably sharing a page with text or extending over a spread--are traditional in style, setting events in a comely time past. It's grand to have the real thing in such fine new dress--an essential reference for folklore collections, in attractive format that's sure to appeal to young readers. (Folklore. 5+) -- Copyright 1993, Kirkus Associates, LP. All rights reserved.; Title: The Complete Fairy Tales of Charles Perrault | [
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15,428 | 11 | Grade 6-12-- The handsomely detailed two-page black-and-white drawings are an attractive feature of this book, as they were with the authors' previous description of the growth of a European city, Barmi: A Mediterranean City Through the Ages (Houghton, 1990) . This time, readers can trace through text and illustrations, the development of a typical Hanseatic city in Northern Europe. This mythical composite municipality is based on cities such as Lubeck, Hamburg, or Amsterdam, whose wealth was derived from the sea. The first double-page spread shows Lebek as it might have looked in 1,000 b.c. , when it was a timber stockaded village huddling on an island in a North Sea estuary. The modern megalopolis, spreading out in all directions and protected by a complex system of dikes and canals, is a far cry from the humble beginnings. In between, all the different stages of Lebek's evolution are charted by the carefully written text and marvelous illustrations. --David N. Pauli, Missoula Public Library, MTCopyright 1991 Reed Business Information, Inc.A companion to Barmi: A Mediterranean City Through the Ages, by Hernandez and Pilar Comes. Though it most closely resembles cities in the Low Countries (especially Amsterdam), ``Lebek'' is a composite of the major ports (from France to East Prussia) that once belonged to the Hanseatic League. Fourteen double-spread aerial views of the same site, depicted at dates ranging from 1000 B.C. to the present, alternate with double spreads summarizing the social, technological, and architectural status of Lebek at each time; succinct summaries of the era's politics and economics are augmented by illustrations and more detailed explanations of the most conspicuous developments. Corni's finely detailed pen drawings, including many cross sections and illustrations showing how things work, recall David Macaulay; though less brilliantly organized and limned, they contain an admirable quantity of precise detail. An unusually attractive survey of social history. (Nonfiction. 10+) -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.; Title: Lebek: A City of Northern Europe Through the Ages | [
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15,429 | 11 | Charlotte and David Yue live in Philadelphia with their three children. They have collaborated on several books exploring Native American culture.; Title: The Pueblo | [
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15,430 | 2 | In this zany cumulative verse, five silly simian siblings insist on bedtime mayhem, and--heedless of the doctor's admonition--each suffers the same injury. Ages 3-8. Copyright 1990 Reed Business Information, Inc.; Title: Five Little Monkeys Jumping on the Bed (A Five Little Monkeys Story) | [
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15,431 | 14 | When the extended family gathers for its annual cookie baking, great-grandma Rebecca tells about her ninth Christmas, in 1930 during the Depression. Times were hard on their Wisconsin farm, and there was no hope of the porcelain doll she wanted; so Mama improvised a doll of thick gingerbread, with yarn hair and a dress of cloth scraps. Rebecca ``loved Button Marie in a way you could never love anything from a store''; but though she was careful, ``Button Marie'' eventually broke. Later, times got better and she had a cornhusk doll and, finally, the porcelain doll. But it's Button Marie's scrap of a dress that great-grandma Rebecca treasures and talks about on cookie-baking day: she ``was made from love, and that's the part...that lasts forever.'' Lloyd's sharply observed realistic watercolors--in a palette somewhat grayed as if to recall old b&w photos--beautifully reflect this well-told story's warmth and focus on essential values. (Picture book/Young reader. 5-9) -- Copyright 1993, Kirkus Associates, LP. All rights reserved.; Title: The Gingerbread Doll | [
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15,432 | 1 | In another successful joint effort, the creators of Tacky the Penguin and Pookins Gets Her Way introduce a memorable character--a plump, delightfully expressive pig named Pinkerton, who always insists on being first, "even if it meant bouncing off bellies, stepping on snouts, or tying tails." When Pinkerton's Pig Scout troop goes to the beach, Munsinger's hilarious, whimsical art shows the pushy fellow (wearing pink-and-white dotted trunks, an inflatable tube and goggles) stepping on the heads of two pals to be "first out of the water, and first into the picnic basket." But when the piggy Pinkerton rushes across the beach to respond to an alluring question ("Who would care for a sandwich?") he gets a well-deserved comeuppance, for he is pressed into service by a tiny Sandwitch who needs someone to take care of her. This funny, fetching tale will bring chuckles--and a lesson--to any child with a tendency to echo Pinkerton's cries of "Me first." Ages 4-up. Copyright 1992 Reed Business Information, Inc.Kindergarten-Grade 3-- A funny story about a child (in this case a young pig) still in the egocentric stage. Pinkerton is pushy. He is the first one on the bus, the first one in the water, and the first one down the slide. He is leading his Pig Scout troup one day when he hears a voice ask, : `` `. . . Who would care for a sandwich?' '' Pinkerton then learns that first is not always best, because he must take care of a demanding Sandwitch (doing her dishes, telling her a bedtime story, etc.). From the opening description of Pinkerton as ``pink, plump, and pushy,'' to the many labors he must endure, the tale is filled with humor. The pictures are replete with action, and the expressive watercolors greatly enhance the comedy. Sure to be both popular and useful, this is Lester and Munsinger's best collaboration to date. --George Delalis, Oakland Pub. Lib Copyright 1992 Reed Business Information, Inc.; Title: Me First | [
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15,433 | 2 | With a child's frankness, Sami tells of life in war-torn Beirut--an existence spent between the relative safety of Grandfather's cellar hearing gunshots and falling bombs, and brief sojourns into the city's rubble to experience life above ground. Sami's poignant and appealing narrative is imbued with a wisdom far beyond his years. Left fatherless by a bomb blast, he has boyish yearnings to play at soldiers and build a sandcastle, but these are tempered by ever-present reality. He understands that the future depends on his generation, and the text picks up moments of relaxation--the discovery of a luscious peach on sale, memories of a day at the beach. Lewin's brooding watercolors dramatically depict the contrast between cellar-bound days and rare moments of eye-squinting sunshine. And while his studies do not portray the worst horrors of living in a war zone, they exude a brave optimism. This uncommon picture book, valuable for its portrait of children caught in modern-day conflicts, is sure to lead to thought-provoking discussions. Ages 5-9. Copyright 1992 Reed Business Information, Inc.Grade 3 Up-- Ten-year-old Sami lives in Beirut, Lebanon. Because of gunfire and bombing in the streets, he and his family spend much of their time in the basement of an uncle's house. There they listen to the radio or stare at the carpets Sami's mother insisted on bringing along as reminders of a normal life. When there is a lull in the fighting, the boy enjoys a day at the beach or meets with a friend to make a fort and play at war. ```When we are older, we will have real guns,''' says Amir. Sami disagrees. ```The fighting will be over then. It cannot last forever.''' At the story's end, Sami and his family are back underground listening as the ``noises of the night'' begin. As in The Day of Ahmed's Secret (Lothrop, 1990), three marvelously talented collaborators offer a powerful, poignant book. Heide and Gilliland's lyrically written, haunting story makes clear that war threatens not only physical existence but affects the human spirit as well. Lewin's watercolor illustrations capture contemporary Beirut with stunning clarity and drama. A bridal party walks through the rubble of a bombed-out street, old men drink coffee and smoke water-pipes, a blue sky startles with its brilliance. And Sami--surrounded by the carpets whose muted colors suggest a glimmering of hope--waits in the black cave of a basement. Unforgettable. --Ellen D. Warwick, Robbins Library, Arlington, MACopyright 1992 Reed Business Information, Inc.; Title: Sami and the Time of the Troubles | [
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15,434 | 11 | Based on Zuni tribal lore, this picture book blends creation myth with a timeless (and timely) message about conservation. The village of Hawikuh has been blessed by the Corn Maiden spirits and enjoys perennially bountiful harvests. To show off their wealth the village's head chief and elders plan what amounts to a huge food fight--much to the Corn Maidens' disgust. In retribution the spirits send famine to Hawikuh, which drives away everyone except an abandoned boy and girl. The boy fashions a butterfly-like creature out of a corn husk, and the magical insect comes to life to win the Corn Maidens' favor and return good fortune to the village. "To this day, in early summer--when the corn is beginning to bloom--the dragonfly appears." Rodanas's telling deftly mixes mysticism and moral, imparting a valuable lesson about respect for the environment. Her paintings feature the honeyed hues of corn and clay, often splashed with brilliant red. Zuni pottery and native dress figure prominently in several scenes against a rich background of sweeping New Mexico landscape. Ages 5-8. Copyright 1992 Reed Business Information, Inc.Rodanas (The Story of Wali Dad, 1988) retells an ancient Zuni tale, scrupulously noting her source as an 1884 transcription that she has ``simplified...[adding] some details of my own [in] the way of storytellers.'' The result is a blend of cautionary tale and why story: Celebrating an abundant harvest, the Ashiwi stage a mock battle--literally, a food fight- -that angers the Corn Maidens; they refuse their blessings, and famine follows. Most of the people flee, but two forgotten children fashion a lovely winged creature (the first dragonfly) from a withered cornstalk. It flies to the Corn Maidens, who restore their bounty; the other villagers return, both wiser and kinder. Rodanas's narration is clear and straightforward; her skillfully composed paintings, attractively showcased in the book's large format, are realistic and carefully researched, including many authentic details (such as architecture and pottery designs) and evoking the Southwest in broad sweeps of beautifully observed earth and sky. A fine addition to Native American folklore collections. (Folklore/Picture book. 4-10) -- Copyright 1992, Kirkus Associates, LP. All rights reserved.; Title: Dragonfly's Tale | [
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15,435 | 5 | Kindergarten-Grade 2-- A newly illustrated edition of a story first published in 1967 (McGraw; o.p.). Vasya, a Ukrainian boy, is puzzled when his father tells him he is sowing flax seeds `` ` . . . so that shirts will grow for you and baby Anya.' '' How can a shirt grow in the field? The boy watches every step in the lengthy process of turning flax into linen cloth, from growing, harvesting, and processing it, to spinning and weaving the thread, to bleaching, cutting, and sewing together the fabric. And in the end (more than a year later), ``It was a real shirt!'' The new illustrations are softly colored paintings that show details of farm life and the changing seasons in the Ukrainian countryside; they're more realistic and less folkloric than Yaroslava's for the earlier edition. Both Elsa Beskow's Pelle's New Suit (HarperCollins, 1929) and Tomie dePaola's Charlie Needs a Cloak (S. & S., 1982) show the similar process of turning wool into cloth. These titles have more child appeal because the protagonist himself helps to create the clothes, whereas Vasya is merely a passive observer while others work. However, where materials on farm life and textiles are in demand, this one will be a pleasant addition. --Caroline Parr, Central Rappahannock Regional Library, Fredericksburg, VACopyright 1992 Reed Business Information, Inc.Text: English (translation) Original Language: Russian; Title: How a Shirt Grew in the Field | [
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15,436 | 1 | Bunting's rhymes freeze-frame moments of a red fox's winter day. The urgent tempo of the narrative echoes the animal's growing hunger: "Red fox running, / Running through the snow, / White sky above / And white earth below. / . . . / Hunger runs beside you / On this cold and frozen day." Elegant metaphors (the silence of an eagle's shadow, the loneliness of being left behind by migrating cranes) convey the emptiness within the starving fox. But "red fox, weary" turns to "red fox, joyous" when he sniffs out prey and returns to feed his family. The book hints at the cost of the hunt--"Your paws are raw and bleeding, / Your body's sore and spent"--but identifies the unlucky victim only in the illustrations, as a vague furriness. Facing each page of verse is a full-page painting; alternating with these are textless full-spread depictions of the fox's outdoor world. Minor's grainy paintings combine down-to-earth representations with an ethereal use of lighting. Ages 4-8. Copyright 1993 Reed Business Information, Inc.PreSchool-Grade 3-Bunting draws readers into the winter world of a red fox. In a simple, rhyming text-eight short lines per page-its quest for food unfolds. Suspense builds as it runs through the snow encountering other woodland creatures (will one become its prey?). As night falls, the animal wearies and becomes vulnerable itself. Finally, a meal is captured-details of the kill are discreetly omitted from both text and illustrations-and the creature staggers home with its "prize" to a cozy den and hungry cubs. The serious topic brings to mind a documentary, but the verse and fine watercolor paintings heighten its drama. Sweeping landscapes dominated by snowy ground, bleak skies, and rich evergreens appear regularly on double-page spreads that alternate comfortably with the sedately framed white pages of measured text. Compelling closeups of the wildlife are appropriately naturalistic and marvelously textured. Overall, Bunting provides an unromanticized glimpse of survival in the wild. Her lyrical language and Minor's large-format art render this an ideal choice to read aloud or independently.Valerie Lennox, Jacksonville Public Library, FLCopyright 1993 Reed Business Information, Inc.; Title: Red Fox Running | [
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15,437 | 15 | If you liked David Wiesner's surrealistic 1992 Caldecott Medalist Tuesday, then June 29, 1999 will send your spirits soaring like a frog on a flying lily pad. This wacky Wiesner creation chronicles an astonishing cross-country phenomenon on June 29, 1999. About a month earlier, on May 11, 1999, young Holly Evans launches vegetable seedlings into the sky from her home in Ho-ho-kus, New Jersey--on seed flats with Acme weather balloons. She expects the plants to stay aloft for a few weeks, allowing her to study the effects of extraterrestrial conditions on their growth and development.On June 29, 1999, curious things start to happen all over America. A hiker in Montana finds giant turnips in the Rocky Mountains. "Cucumbers circle Kalamazoo. Lima beans loom over Levittown. Artichokes advance on Anchorage." TV news channels announce that arugula has covered Ashtabula, which puzzles Holly, because arugula is not part of her experiment. In fact, she is forced to conclude that none of the enlarged specimen sightings are a result of her initial seedling launch. Where did the giant vegetables come from then? Wiesner waits until the last pages to deliver the punch line. Throughout the book, his visual humor interplays perfectly with the sophisticated though minimal text. (A Mount Rushmore-like scene reveals the faces of Reagan, Bush, Nixon, and Carter carved out of giant potatoes with the caption "Potatoland is wisely abandoned.") This beautifully composed ode to absurdity makes us all wish we really could see parsnips over Providence. Awards and other recognition: 1993 ALA Notable Book, School Library Journal Best Books of 1992, Fanfare 1993: Horn Book's Outstanding Books of the Year, Publishers Weekly 50 Best Books of 1992, New York Times Notable Books of the Year 1992. (Ages 5 and older) --Karin SnelsonCaldecott Medalist Wiesner once again presents an offbeat premise and unconventional artwork to tempt youngsters into his deliciously skewed landscapes. In this thoroughly winning flight of fancy, it seems the strange events that occurred on Tuesday still continue. Wiesner here leaves the boggy, froggy swamp for suburbia and beyond, setting this work in "Ho-Ho-kus, New Jersey." There Holly Evans sends boxes of planted vegetable seeds into the ionosphere as part of her ambitious third-grade science project--"her classmates are speechless." What happens next may or may not be the result of Holly's experiment, but the country is never the same. Giant specimens of produce begin to bombard various regions, as "cucumbers circle Kalamazoo," "artichokes advance on Anchorage" and "cauliflower carpets California." (On the same date, it turns out, a space-ship's cook has inadvertently jettisoned mega-vegetables from his galley. Perhaps a bizarre coincidence, perhaps not.) Wiesner's dry humor, irony and artistic wizardry have been masterfully marshalled into a visual and literary feast. Kids will relish rolling amusingly alliterative phrases off their tongues almost as much as they delight in these wryly rendered paintings. From the huge broccoli reminiscent of the fallen tree in Hurricane to the Mount Rushmore-like faces carved from potatoes, readers will adore this imaginative romp. Though several picture books of late have attempted to combine drollery and sophistication, only to end up with results far over youngsters' heads, this work succeeds notably on several levels. Spectacular to look at, great fun to read--it is, in sum, executed with consummate skill. Ages 5-up. Copyright 1992 Reed Business Information, Inc.; Title: June 29, 1999 | [
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15,438 | 2 | "Alison Wonderland's predicament and its amusing resolution are set forth with freeflowing humor in a lively text and three-color characteristically down-to-earth illustrations." -- Review; Title: But Names Will Never Hurt Me | [
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15,439 | 12 | McDougal Littell Pre-Algebra: Student Edition Pre-Algebra 1992; Title: McDougal Littell Pre-Algebra: Student Edition Pre-Algebra 1992 | [
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15,440 | 2 | Eve Bunting has writtenover two hundredbooks for children, including the Caldecott Medal-winning Smoky Night, illustrated by David Diaz, The Wall, Fly Away Home, and Train to Somewhere. She lives in Southern California.; Title: Our Teacher's Having a Baby | [
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15,441 | 1 | Grade 4-7?Sattler and Zallinger return to the successful format of The Book of Eagles (Lothrop, 1989) to showcase another raptor. Limiting themselves to those found in North America allows children to focus on those they might actually see in the wild, but still offers detail on a great variety of sizes, behaviors, and habitats. Sattler begins with a personal childhood story and often introduces a new topic with anecdotal narrative to draw in youngsters. Historical and scientific background information is given, followed by a clearly organized picture of the bird's life cycle and place in nature. At one point, the author veers too close to fiction, translating an owl's mating calls into English, and she espouses a positive view of its place in the ecosystem (a position some farmers and loggers take issue with). On the whole, though, this is a balanced, entertaining, and informative selection. The second half of the book is a pictorial glossary of owls that highlights each of the 21 species that live on this continent; it includes good range maps, specific behavioral and physical facts, and calls. The attractive drawings, clean format, and generous size contribute to this appealing treat for nature fans.?Susan Oliver, Tampa-Hillsborough County Public Library SystemCopyright 1995 Reed Business Information, Inc.Gr. 3^-6. Amply illustrated with color pencil and watercolor artwork, this large-format book introduces the physical features and habits of North American owls. Sattler explains how owls differ from other birds; what makes them good predators; how they court, nest, and raise their young; and what their collective future might be. Following this, a useful "Glossary of Owls" introduces 21 species of owls, each described on a page that includes a large full-color illustration and a map showing its summer and winter ranges of habitat. A bibliography is appended. A very attractive offering, intriguing to read and well designed for research. Carolyn Phelan; Title: The Book of North American Owls | [
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15,442 | 18 | Grade 6 Up?Murphy presents the life of Joseph Plumb Martin, a 15-year-old Connecticut farm boy who enlisted in the Continental Army in 1776. Through well-selected quotes from Martin's self-published memoir, A Narrative of Some of the Adventures, Dangers and Sufferings of a Revolutionary Soldier, readers experience the young soldier's excitement and fear during battle, his boredom while marching, and the deprivation of a winter encampment. The author's compelling writing intertwines major events of the American Revolution with Martin's own story, rendering historical events and military strategy readily comprehensible. The book is generously illustrated with black-and-white maps and reproductions; captions present information that complements rather than repeats the text. Unfortunately, there is neither a map of the colonies from the Hudson to Yorktown, nor a glossary of military terms. Important figures such as Burgoyne, Cornwallis, and Washington are portrayed as individuals as well as military leaders. The index is comprehensive. This volume compares favorably to Doris and Harold Faber's The Birth of a Nation (Scribners, 1989) and is certainly more accessible than Yankee Doodle Boy (Holiday, 1995), an abridged version of Martin's memoir edited by George F. Scheer. An outstanding example of history brought to life through the experience of one individual.?Lisa Von Drasek, Brooklyn Public LibraryCopyright 1996 Reed Business Information, Inc.Gr. 5^-8. Murphy tells the story of the American Revolution through the eyes of Joseph Plumb Martin, who enlisted in the army in 1776, at the age of 15. Murphy frequently quotes Martin, evidently drawing from Martin's book A Narrative of Some of the Adventures, Dangers, and Sufferings of a Revolutionary Soldier (1830), listed in the extensive bibliography. The lively quotations give Murphy's account a feeling of immediacy, heightened by the many details of life in the army. For instance, few history books for children even mention the mutinies among the American troops, but Murphy vividly explains their causes and consequences, or lack of consequences. He quotes Martin on the mutinous soldiers: "venting our spleen at our country and government, then at our officers, and then at ourselves for our imbecility in staying there and starving . . . for an ungrateful people who did not care what became of us, so they could enjoy themselves while we were keeping a cruel enemy from them." Many black-and-white reproductions of period engravings, paintings, and documents appear throughout the book. Although source notes would have been a welcome addition, young readers researching the military and social history of the American Revolution will find this an excellent resource. Carolyn Phelan; Title: A Young Patriot: The American Revolution As Experienced by One Boy | [
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15,443 | 2 | First-time author Rydell offers up a pleasingly symmetrical, quietly playful bedtime story. In prose evocative of a summer's night, she describes what happens when one girl lies awake late at night, her ears filled with Mockingbird's song. When the wind fails to coax the child into slumber, it appeals to Mockingbird for silence. But the night bird can't help singing as long as music is coming from Cricket (shown in top hat and tails, playing a fiddle). Cricket, in turn, responds to the strumming of Frog ("lost in the beat, with a night full of rhythm in his hands and feet"), who is inspired by Moth's dancing under delicate moonshine. Through the wind's intervention, Moon stops shining, night creatures surrender to stillness one by one and the youngster drifts to sleep. Softly lit in subtle green tones, Jorgensen's colored-pencil drawings enliven the night music with jovial characters, including a mischievous, crater-pocked Moon. Gently beguiling. Ages 2-8. Copyright 1994 Reed Business Information, Inc.PreSchool-Grade 1-Although it is late, a young girl cannot fall asleep because the creatures outside her window are making too much noise. The night wind tries to quiet them, but it is only when it blows a cloud over the Earth and the moon stops shining that the moth stops dancing, the frog stops strumming his base fiddle, the cricket stops playing his violin, the mockingbird stops singing, and the child falls asleep. Youngsters will delight in the language of this story in which music spills from deep in a mockingbird's throat, a cricket's toes tap while his coattails flap, and a frog gets "lost in the beat, with a night full of rhythm in his hands and feet." Jorgensen's pencil drawings in soft night shades illumined only by the moon and some whimsical fireflies (alert readers will notice their lantern tails) depict fun-loving animals reluctant to end another day. This splendid bedtime story is perfect for a restless child, and its large pictures render it equally suitable for story time or classroom use. The cumulative narrative invites group participation. Use it with Daniel San Souci's North Country Night (Doubleday, 1990) to enrich the science curriculum. Marianne Saccardi, Whitby School American Montessori Center, Greenwich, CTCopyright 1994 Reed Business Information, Inc.; Title: Wind Says Good Night | [
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15,444 | 16 | In this companion book to the popular Pigs from A to Z , Geisert cleverly combines an educational hide-and-seek game with a tale of fantasy, mystery and porcine appeal. When Mother Pig one night tells of a "lost place with huge stone configurations," her sleepy 10-in-a-bed offspring suddenly become animated. Determined to find this unusual land, they cross a great chasm--with the help of a cannon and grappling hook--to a far-off valley. In this dreamlike world where piglets use their initiative and steam drills appear out of nowhere, readers, too, have a quest: hidden in each delicate ly etched spread are 10 industrious pigs and elusive numbers, scattered throughout the landscape and craftily disguised. (A key to these challenging conundrums appears at the book's end.) Geisert's inventiveness knows no bounds, and his illustrations both inspire the imagination and convey a homey charm. The final page, a triumphant aggregation of pigs and numbers, is especially endearing. Ages 4-8. Copyright 1992 Reed Business Information, Inc.Grade 1-4-- As in Pigs from A to Z (Houghton, 1986), Geisert sends his family of pigs on a Rube Goldberg adventure in which hard work, a variety of machines, and the illogical construction of an impossibly long suspension bridge lead them to a hidden valley with stone configurations of the numbers from zero to nine. Readers are asked to find all ten of the identical piglets as well as the numerals in each picture. Geisert's etchings, done in his signature crosshatch technique, are printed on a dull gray-green background, making some of the numerals and pigs very difficult to find. In a story that is neither compelling nor logical, the piglets set out to find the ``lost place'' mentioned in a bedtime story. They drag a large cannon up a hill; use it to shoot a grappling hook an impossible distance; construct an elaborate suspension bridge; use a large steam drill to make a tunnel through a mountain; find the valley; and make wooden copies of the numerals that they carry across the bridge in triumph as the sun sets. Process overwhelms plot, and there's little sense of adventure or discovery--just a lot of details with a few hidden numbers to justify the whole exercise. --Eleanor K. MacDonald, Beverly Hills Pub . Lib .Copyright 1992 Reed Business Information, Inc.; Title: Pigs from 1 to 10 | [
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15,445 | 1 | PreSchool-- The five little monkeys are back, this time eager to bake a cake for their mother's birthday. As she sleeps in blissful ignorance, the children demolish the kitchen, and the smoking cake attracts the fire department. She sleeps through the clamor until a rousing chorus of "Happy Birthday!" wakes her. When she informs everyone that her birthday is the next day, silent plans are made for another cake. While this story lacks the infectious humor and counting motif of its predecessors, children will enjoy the repetition of "Sh-h-h! Don't wake up Mama." Christelow's cartoon figures are as exuberant as ever, and their gleeful monkeyshines will capture youngsters' attention. An additional title that will combine nicely with Christelow's other books for a foolproof story time. --Lori A. Janick, Parkwood Elementary School, Pasadena, TXCopyright 1993 Reed Business Information, Inc."Christelow's full-color mixed-media illustrations humorously convey the total mayhem created by these well-intentioned children." -- Review; Title: Don't Wake Up Mama!: Another Five Little Monkeys Story (Five Little Monkeys Picture Books) | [
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15,446 | 11 | According to the Navajos, the jumble of stars in the night sky reflects the disorders and confusion of life itself. In this lyrical retelling Oughton--in her first children's book--paints a picture of calm deliberation as, at the beginning of the world, First Woman determines to write the laws in the sky for all to see. So she positions her jewelry "crafting her careful mosaic on the blackberry cloth of night." Coyote offers to help with this important task but becomes impatient and sends a cascade of stars hurtling into the night, creating chaos for all time. Oughton's text echoes First Woman's self-confidence and is sprinkled throughout with deft turns of phrase. Desimini's somber yet luminous art evokes nature's solemn beauty as it captures the silent mystery of the "rim of night." Her solid, slightly static figures firmly place this fantasy-like world of the desert in reality. Ages 4-8. Copyright 1992 Reed Business Information, Inc.Kindergarten-Grade 3-- At the end of the first day, First Woman tries to convince First Man that ``The people need to know the laws.'' Impatiently, he tells her to write them in the sky. She takes a blanket full of her jewels (stars) and with infinite patience begins ``designing her pattern so all could read it.'' Coyote asks to help, but when he sees the magnitude of the task he grumbles, then flings the remaining stars into the night sky, forever obscuring the pattern. As the second day dawns, the people go about their lives, ``. . . never knowing the reason for the confusion that would always dwell among them.'' This Navajo tale acknowledges the common human feeling that there IS a message in the stars--the laws of a clear and orderly universe--if it could be read. It absolves humans of guilt (Coyote did it) and provides a First Woman who is a strong, positive, and beneficent figure. The concise and graceful text is matched with illustrations in a primitive but dramatic vein, marked by simplified shapes, saturated matte colors, and desert-stark composition. The claret-sandstone earth and deep lapis sky, meeting at a curved horizon, dominate most pages; the white of eyes and starlight punctuate the design. This handsome book might well fit into a myth or Native American collection, but it can stand on its own timely and attractive merits as well.- Patricia Dooley, Univ. of Washington Extension, SeattleCopyright 1992 Reed Business Information, Inc.; Title: How the Stars Fell into the Sky: A Navajo Legend | [
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15,447 | 0 | "One page after another prompts a chuckle and begs to be shared." Kirkus Reviews with PointersSusan Meddaugh was born and raised in Montclair, New Jersey. She graduated from Wheaton College, where she studied French literature and fine arts. After working briefly with an advertising agency in New York, she moved to Boston and worked at a publishing company for ten years, first as a designer, then art editor, and finally as art director. While there, she did the illustrations for Good Stones (Houghton Mifflin) by Anne Epstein, and then decided to strike out on her own as a freelance illustrator and creator of children's books. Since that time, Susan has written and illustrated many popular books for children, including Martha Speaks, which was chosen as a New York Times Best Illustrated Book for 1992. In 1998 she was awarded the New England Book Award, given by the New England Booksellers Association to recognize a body of work. Her work also was acknowledged with a New York Times Best Illustrated Award. She lives in Sherborn, Massachusetts.; Title: The Hopeful Trout and Other Limericks | [
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15,448 | 2 | The furnishings are few in this chilly Eskimo dwelling, but when Michael jumps in Mother's lap, the love between them warms the room, as "back and forth, back and forth, they rock." Michael runs to get Dolly, then his carved boat, a reindeer blanket and even his puppy: the small rocking chair is full. When Baby cries, Mother insists there's room for her too, but Michael pouts and hides. All of them end up back in the chair, crowded but cozy; Michael admits, "It feels good." Pastels in earth tones and turquoise create a luminous setting with the captivating faces of the serene mother and her two small children. Though the story is very slight, it makes a reassuring point for little ones, who need to know that a mother's love is an expandable quantity. Ages 2-5. Copyright 1992 Reed Business Information, Inc.PreSchool-Grade 2-- An update of the 1972 collaboration (McGraw-Hill; o.p.). Coalson improves upon a fine original work, drawing the Eskimo mother as a younger woman and adding color, finer lines, and details of contemporary Inuit life. Scott's spare, gentle text has not been altered; the difference is its placement on the page. The universality of all-encompassing maternal love transcends ethnicity and still rings true in the update, but Coalson's realistic, warm illustrations give On Mother's Lap revitalized energy to reach a new generation of youngsters. Libraries still owning the earlier work can get by, but this one is a top choice. --Mollie Bynum, Chester Valley Elementary School, Anchorage, AKCopyright 1992 Reed Business Information, Inc.; Title: On Mother's Lap | [
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15,449 | 0 | At the request of the late Newbery medalist O'Dell ( Island of the Blue Dolphins ), his widow, Hall, collaborated on this story about Sound of Running Feet, the daughter of Chief Joseph of the Ne-mee-po, or Nez Perce Indians. Sound of Running Feet narrates the betrayal of her people, their flight, last battles and final surrender. In typical O'Dell fashion, the novel serves up a generous helping of historical fact and general information about the Ne-mee-po and their way of life. Unfortunately, a formal and reserved tone ("I had loved him for a long time, for as many moons as there were stars") keep the reader at arm's length from the characters, which in turn does little to amplify or personalize their plight. Readers may find that the novel's choicest parts are those trimmed closest to the factual bone--though topping Chief Joseph's "Hear me, my chiefs" speech will prove difficult, this work may encourage youngsters to sample some of its source material. Ages 10-14. Copyright 1992 Reed Business Information, Inc.Grade 5-8-- A poignant story as told by Sound of Running Feet, the daughter of Chief Joseph of the Nez Perce people. In her clear, unflinching voice, she tells of the long, tearful, bloody trail that her people were forced to follow from their beloved home in Wallowa Valley, Oregon, to their final confrontation with the American soldiers at the Bear Paw Mountains in Montana. There, in now famous words, `` `. . . From where the sun now stands, I will fight no more forever,' '' Chief Joseph surrenders on behalf of his once proud warriors who are cold, surrounded, and outnumbered. As stated in the foreword written by O'Dell's wife, who finished the book after his death, many of the people, events, and even words used in the story are based on historical record. Other characters and events are fictionalized or composites. Most notable among them is Swan Necklace, who is initially a pacifist but who becomes enraged as he witnesses the oppression and injustice his people suffer at the hands of the soldiers. The story's effectiveness is weakened, however, by the unnecessary and sometimes jarring romance story line between Sound of Running Feet and Swan Necklace. Despite this flaw, this is an admirable final addition to O'Dell's legacy of powerful novels. --Jane Marino, White Plains Public Library, NYCopyright 1992 Reed Business Information, Inc.; Title: Thunder Rolling in the Mountains | [
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15,450 | 2 | In her first picture book, Choi ( The Year of Impossible Goodbyes ) tackles the sensitive topic of an immigrant's adjustment to life in the United States. Yunmi's grandmother Halmoni has just moved to New York City from Korea and she's having a tough time getting acclimated. She doesn't speak much English, she doesn't understand the customs and she misses her homeland and her friends. In an effort to reach out to the old woman, Yunmi's friends ask Halmoni to chaperone the class picnic in Central Park. Yunmi is both excited and scared at the prospect--maybe the other kids will make fun of Halmoni's clothes and the traditional kimbap (rice/vegetable rolls) that she insists on bringing to the outing. But the children turn out to be fine ambassadors, and Halmoni feels pleased and welcome. Choi's text, sentimental but never saccharine, captures a jumble of emotions, both Halmoni's and Yunmi's. Both must find a common ground where pride, love and tolerance can coexist. With a light hand Choi delivers a happy ending. Dugan's serviceable pencil and watercolor illustrations are warm in spirit and accurate in their detail, as in depictions of Halmoni's dress. Bright Korean-inspired borders framing each painting provide an authentic flavor. This gentle intergenerational book should appeal on many levels, and will be especially appreciated by those seeking contemporary Asian American fare. Ages 4-8. Copyright 1993 Reed Business Information, Inc.Yunmi, a Korean-American third-grader in a N.Y.C. parochial school, worries about her grandmother Halmoni, who's been in the US only two months and is having a hard time with the English language and American customs. When Yunmi's friends invite Halmoni to chaperon a class picnic and Halmoni insists on bringing special Korean food, Yunmi fears her classmates may turn up their noses at the kimbap or make fun of Halmoni's traditional clothing. But thanks to Halmoni's gentle, generous ways and the children's good- natured curiosity, the day is a great success--and Halmoni is even emboldened to say goodbye in English. Manhattan looks clean and picturesque in color illustrations that fill alternate pages, bordered in beautiful Korean textile designs. A sensitive exploration of difficulties facing immigrants, particularly older people who don't get the crash course in American culture provided by school or a job. (Picture book. 5-9) -- Copyright 1993, Kirkus Associates, LP. All rights reserved.; Title: Halmoni and the Picnic | [
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15,451 | 2 | Houghton Mifflin Reading: Flat Stanley Level 4 Imp FLAT STANLEY (Literature Experience); Title: Houghton Mifflin Reading: Flat Stanley Level 4 Imp FLAT STANLEY (Literature Experience) | [
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15,452 | 12 | The author of such delights as The Christmas Ark and The Enchanted Tapestry joins forces with illustrator Pinkney to resurrect a colorful folktale that captures the unique flavor of the American South. A 1989 Caldecott Honor Book.; Title: The Talking Eggs | [
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15,453 | 20 | By beginning with humankind's earliest religious beliefs and ending with humanity's organization of these beliefs, the Maestros lead children on a whirlwind tour of the world's great religious traditions. They begin by pointing out that, despite the diversity of religious traditions, human questions about the creation of the world and the meaning of death are universal. They move from animistic beliefs of early tribal religions to the mythic religious structures of ancient Egyptian, Greek and Roman religions to the monotheism of Judaism, Christianity and Islam and the polytheism of Hinduism and Buddhism. The authors weave the beliefs, myths and practices of each religion into a narrative tapestry that, they believe, demonstrates the unity lying beneath the diversity of all religions as well as the dynamic character of these religious traditions in today's world. Included in the book are brief sections describing the sacred texts, festivals and holidays. There is also a short description of other religions, such as Zoroastriansim, that are not included in the book itself, and the Maestros list the various ways in which different religions express their own versions of the maxim "All things you want people to do to you, do so to them." Color drawings of the gods, founders and important practices of each religion, like a Hindu family offering a sacrifice at their home shrine, bring these religions to life. Ages 7-9. Copyright 1996 Reed Business Information, Inc.Grade 3-5?Using the same large format as the Maestros' The Discovery of the Americas (Lothrop, 1991), Betsy Maestro has written a fine basic introduction to religion. It is quite an ambitious effort to look at the development of various beliefs in a way that can be understood by fairly young children, but she succeeds admirably. Beginning with early polytheistic beliefs in multiple spirits or gods and goddesses, and their usual strong link to nature, the author moves on to introduce Taoism and teachings of Confucius, Hinduism and Buddhism, Judaism, Christianity, and Islam. Even though the coverage of each is only a few pages, the author clearly explains the development of the religion and its major tenets. She takes the viewpoint that all religions are equally valid, and tries to show ideas and customs that are found in most faiths, thus showing children the diversity of beliefs in the world and encouraging tolerance and understanding. The text is written as a long essay rather than being broken into chapters, but there is an index at the front of the book. Giulio Maestro's art tries to capture the artistic tradition of the dominant culture of each religion discussed while showing major symbols or important events. This means that the book may have less artistic unity than most of his books, but it meshes very well with the text. The different styles reinforce the uniqueness of each tradition. An attractive, interesting, and informative title.?Jane Gardner Connor, South Carolina State Library, ColumbiaCopyright 1996 Reed Business Information, Inc.; Title: The Story of Religion | [
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15,454 | 12 | Gr. 5-7. In the original Spanish and in a lyrical translation, these autobiographical vignettes are selections from a classic prose poem about the poet and his donkey and their remote mountain village. The design is handsome, and Frasconi's full-page, colored woodcuts are bold and beautiful, expressing the energy and gentleness of the writing. There's not much story, and few kids will pick up this book on their own, but teachers will find rich material here for creative writing projects in both Spanish and English. The short pieces are deceptively simple, but they have a lot to say about affection and friendship ("We understand each other. I let him go wherever he wishes and always he takes me where it is I wish to go"). With vital imagery and a wry, casual voice, Jim{}enez celebrates community and carnival as well as solitude. He's candid about hardship and hunger and longing. Hazel RochmanSelected from the 138 chapters of Platero y yo (by the winner of the 1956 Nobel Prize for Literature), 19 vignettes in the original Spanish plus Livingston's English, based on Dominguez's literal translation. These prose poems concerning Jimnez's Andalusian village and its inhabitants are linked by the poet's affection for the little donkey Platero, sometimes an actor here and sometimes a confidant, and by the orderly passage of time--life, death, and the seasons. The book ends with a series of episodes from Christmas to Carnival. The poet scarcely reveals himself except as an observer. Of his friendship with the donkey, he remarks that ``We understand each other. I let him go wherever he wishes and always he takes me where it is I wish to go''; his lyrical descriptions of the village sights and sounds and such simple happenings as fireworks or calling to Platero in an echoing valley are vividly evocative. Even the inherently dramatic (e.g., a mother dog rescuing her pups) is so understated that it's not the event but the mood that lingers in the memory. Frasconi's handsome full-bleed woodcuts, too, center on mood and setting, their rich colors subtly muted, their expressive images like ``emotion recollected in tranquillity.'' A lovely book, for a discerning audience. (Fiction. 10+) -- Copyright 1994, Kirkus Associates, LP. All rights reserved.; Title: Platero y yo / Platero and I (Spanish-English Bilingual Edition) (English and Spanish Edition) | [
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15,455 | 0 | "Katie is an admirable character in her determination to work out her problem in a realistic fashion." -- Review; Title: The Purse | [
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15,456 | 7 | PreSchool-K?What fun! When a young boy finds a red crayon on the sidewalk, he knows there is something special about it. He draws a red ball and it bounces off the page?a surprise to both himself and his mother. "Not in the house, Newton," she says. The excitement continues as he creates a red car, a fire engine, an apple, and rubber boots. Finally, with the aid of yards of tape to join lots of paper together, he draws an airplane and flies out the window. There is a charming, childlike quality to the narration, as the youngster is not put off by his mother's inattention; he is more interested in getting on to the next picture. Whimsical pastel illustrations express his amazed look at his art taking off. This tale is reminiscent of Florence Parry Heide's The Shrinking of Treehorn (Holiday, 1971), and no wonder?it is written by her daughter.?Ronald Jobe, University of British Columbia, Vancouver, CanadaCopyright 1996 Reed Business Information, Inc.Ages 4^-8. Newton can tell immediately that the red crayon he has found is magic, and sure enough, when he uses it to draw a red ball, the ball bounces right off the page. No matter what he draws--a pair of red boots, a fire engine, or an apple--the object magically appears, prompting his mother to remind him that jumping in boots and howling like a siren are outdoor activities. He does take his last creation outside: he hops in it and flies out the window, carrying his red crayon with him. Sayles' soft pastels are cozy and intimate, and children will appreciate both the story's humor and its deeply satisfying premise. It will be a rare youngster who doesn't spend time imagining what to color with a crayon like Newton's Susan Dove Lempke; Title: Not in the House, Newton! | [
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15,457 | 11 | Charlotte and David Yue live in Philadelphia with their three children. They have collaborated on several books exploring Native American culture.; Title: The Igloo (Sandpiper Books) | [
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15,458 | 16 | A first-time author and illustrator are off to an impressive start in this spirited story, whose message might well be "divide and conquer." Pinczes's bouncy rhymed verse introduces 100 ants marching in single file en route to a picnic, where "There'll be lots of yummies / for our hungry tummies, / A hey and a hi dee ho!" But the littlest ant decides they're moving too slowly, and suggests a new formation--"with 2 lines of 50 / we'd get there soon, I know." But not, however, soon enough: as he spies other animals scurrying by with food, he fears there will be nothing left to eat. Hoping to speed the pace, he directs his fellow marchers to break into four columns of 25; then five rows of 20; and finally 10 lines of 10. The subliminal math lesson is a bonus for youngsters at the older edge of the intended audience, while readers of any age will relish the unexpected ending. Reminiscent of woodblocks, MacKain's illustrations work superbly on a child's level--the unexpected pairing of sophisticated art and lighthearted text lends this book particular distinction. The comical facial expressions of these ravenous creatures, rendered in unusual and subtle hues, reinforce the tale's winning drollery. Ages 4-8. Copyright 1993 Reed Business Information, Inc.; Title: One Hundred Hungry Ants | [
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15,459 | 11 | Readers go from one to 10 twice in this cozy counting book, as an African American brood prepares a bountiful dinner for the extended family. Mother and the five kids start at the supermarket ("one cart . . . two pumpkins . . . three children"), unload groceries at home (with the father's help), do the cooking and then "ten hungry folks" sit down to dinner. Falwell's ( Shape Space ; the Nicky books) cut-paper illustrations are characteristically crisp and colorful--a homey touch is added by each page's numerals being fashioned from floral-print fabric. The family-centered images throughout exude warmth: fresh-baked pies, a baby asleep on its mother's shoulder, carrots being washed and peeled. Even though individual pictures seem a bit bland, the overall impression here is one of reassuring coziness. Ages 4-8. Copyright 1993 Reed Business Information, Inc.PreSchool-K-- In this rhyming counting book, an African-American mother and her children shop for and prepare a festive family dinner. At the supermarket, the count begins with one grocery cart and ends with ten hands helping to load the car. Back at home, the father joins in the preparations and the numbers build a second time to "ten hungry folks" seated around a table ready to share a tasty meal of fried chicken and greens. The successful rhyme scheme builds a natural rhythm that helps the simple text read smoothly. Collage illustrations combine colored paper, patterned fabrics, and felt in a clear, uncluttered design. Muted colors and simple shapes are set off by a stark white background. Most of the figures, especially the baby girl with her rounded limbs and bouncing braids, are animated and expressive. At times, however, facial features seem slightly stilted and relentlessly cheerful. Still, this is an appealing glance at a typical extended family. --Joy Fleishhacker, New York Public LibraryCopyright 1993 Reed Business Information, Inc.; Title: Feast for 10 | [
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15,460 | 5 | Taken from the first ethnological study done in the New World, this pourquoi story makes a strong contribution to the growing number of books preserving ancient tales of early cultures. When Yayael, a great hunter among Puerto Rico's Taino natives, disappears during a hurricane, his parents place his powerful bow and arrow in a gourd hanging from the ceiling. One day the gourd fills with fish enough for all the hungry villagers; but when some curious boys are asked to protect this magical food source, catastrophe occurs. They inadvertently break the gourd, and "in an instant everything in the hut was afloat." Torrents "flowed and rose to cover the land" and eventually "all kinds of sea creatures came out of the gourd to fill the water with life"--the villagers will never hunger again. Crespo's debut book successfully combines a spare, to-the-point retelling with stylized, brightly colored oil paintings that playfully echo forms and faces from early masks and sculpture without being too abstract for a child's comprehension. A concluding pronunciation guide and notes on the Taino culture will be helpful for teachers and parents. Ages 5-8. Copyright 1993 Reed Business Information, Inc.Grade 2-5-- This simple retelling of a Taino myth explains how the sea was formed when salt-water and ocean creatures poured from the burial gourd of the best hunter in the village, creating the island of Puerto Rico. Crespo's primitive oil paintings reflect the harmonious colors of nature: the blues of sky and ocean, the oranges and browns of earth, the reds and yellows of sunrise and sunset, the greens of vegetation. The people's brightly hued clothing and color-coordinated accessories may add to the book's visual appeal, but not its accuracy. This unusual Puerto Rican Indian legend provides an interesting read-aloud as well as a cultural lesson. Source notes and a pronunciation guide are appended. --Susan Scheps, Shaker Heights Public Library, OHCopyright 1993 Reed Business Information, Inc.; Title: How the Sea Began: A Taino Myth | [
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15,461 | 7 | "Witches' brooms don't last forever. They grow old, and even the best of them, one day, lose the power of flight.... On very rare occasions, however, a broom can lose its power without warning, and fall, with its passenger, to the earth below ... which is just what happened one cold autumn night many years ago." So begins The Widow's Broom, the gentle, strangely captivating book by Chris Van Allsburg, who received Caldecott medals for Jumanji and The Polar Express.The story gets under way when the lonely widow Minna Shaw finds a wounded, sky-fallen witch in her vegetable garden. The witch disappears before dawn, but leaves her old, presumably defunct broom behind. Minna begins to use it around the house and finds that "it was no better or worse than brooms she'd used before." However, one morning, Minna sees the broom sweeping by itself! Opportunistically, she trains it to chop wood and fetch water.When the neighbors find out about this "wicked, wicked thing" (posing as an innocent, hardworking broom), they accost the widow and demand that the broom be burned. Are they successful in separating the lonely widow and her diligently sweeping friend? This is a wonderfully suspenseful book to read aloud and young listeners will earnestly hope for the broom's survival. Still, older, wiser readers, ages 8 and older, will be swept up in the story, too.When Minna Shaw comes into possession of a witch's broom, it is as if good fortune itself has dropped from the sky. The broom sweeps on its own and does other chores; it can even pick out simple tunes on the piano. The widow's ignorant neighbors hate and torment the implement, though, fearing what they cannot understand; but in the end the widow and her broom triumph. This resonant tale, one of its gifted author/illustrator's most impressive efforts, effectively draws on mystery and whimsy alike--both human nature and the supernatural are powerful forces here. Van Allsburg's grainy, sepiatone illustrations variously evoke brooding, suspicion, grandeur, humor and serenity. Many individual pictures are haunting--amid a tangle of squash vines, for example, lies the fallen witch, with only one of her hands visible--and in composite they reverberate powerfully indeed. The narrative's subtle conclusion will evoke pleasurable shudders, as readers (gradually, perhaps) become aware of what has transpired. Both visually and narratively, a provocative and altogether satisfying work. All ages. Copyright 1992 Reed Business Information, Inc.; Title: The Widow's Broom | [
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15,462 | 5 | In the same laid-back style as his Rhinos for Lunch and Elephants for Supper! , storyteller Mollel unfolds this carefully cadenced retelling of a Cameroon folktale in a manner that practically begs to be read aloud. A king puts forth "a challenge to all the creatures who lived in his kingdom"--whoever can fashion a robe of smoke for him will win their ruler's recognition as "the cleverest creature in the world." One by one several animals dance in the smoke of the fire, twisting and groping for a solution, but all retire in humiliated defeat. A wily tortoise, after securing the king's promise to provide whatever he might need to complete the task, asks for time to consider the problem. Finally the creature beats the king at his own game; the monarch is so amused that he declares the tortoise to be his equal in cleverness. Warm earth tones and intricate vertical borders, taken from traditional Cameroon designs, enliven Blankley's somewhat staid illustrations. Ages 5-8. Copyright 1993 Reed Business Information, Inc."The full-color artwork illustrates the tale effectively . . . (an) entertaining picture book for folklore collections." -- Review; Title: The King and the Tortoise | [
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15,463 | 2 | With a twist on an old lullaby theme, Sierra and Chess offer a fanciful look at what happens when "the sun [sinks] low / in the Mesozoic sky" and it [is] "bedtime- / bedtime for dinosaurs." In this droll menagerie, two tiny stegosauruses whisper "creepy stories" to a group of enormous, "trembling allosauruses." Winged pteranodons dressed in frilly polka-dotted nightgowns suck on their baby bottles while hanging "forty feet above the ground, / Softly swaying to the sound / Of the dinosaurs' sleepytime song." Whether they are "snoring all in choruses" or resisting bath time in a "squishy fishy tub," these irresistible reptiles (and their parents) have many of the same problems with bedtime that children do. Unfortunately, even if one already knows how to pronounce multisyllabic dinosaur names, Sierra's meter stumbles and lurches enough to make reading aloud difficult. Nonetheless, the idea of worried and well-meaning dinosaurs rocking their progeny to sleep in the "Home Sweet Swamp," coupled with Chess's eccentric and endearing creatures, will tickle the funny fossil bones of parents and children alike. Ages 3-6. Copyright 1996 Reed Business Information, Inc.Kindergarten-Grade 2?A delightfully wacky description in verse of what baby dinosaurs do at bedtime. Sierra's silly poetry is the perfect medium for these sweet and funny vignettes. Chess's comforting watercolor cartoon illustrations are done in greens, browns, and grays. Clean squares of text complement each picture. A pleasant read at bedtime for dinosaur fans as well as those who need a chuckle at the end of the day.?Beth Tegart, Oneida City Schools, NYCopyright 1996 Reed Business Information, Inc.; Title: Good Night, Dinosaurs | [
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15,464 | 2 | Grade 1-4-A rare and perceptive book on an increasingly important topic. Nursing homes are a troubling necessity in our busy world, and Bunting tells of one family's transition with dignity, honesty, sensitivity, and just enough humor to make it bearable. Timmy is seven when his grandmother injures herself in a fall and needs full-time nursing care. On his first visit to Sunshine Home, he is afraid that Gram won't be the same and is overwhelmed by the smells and sights of the place. Mom and Gram are both outwardly "cheery and chipper," but their voices don't ring true. When the family leaves Sunshine Home, Mom begins to cry. Timmy runs back to give Gram his forgotten school picture-she too is in tears. The boy realizes it would be better for all of them to reveal their real feelings and brings his parents back for some honest sharing. The family hopes together that Gram will get well enough to come home while accepting that she may not. Bunting once again tackles the tough-and triumphs. de Groat's realistic watercolor illustrations are appropriately heavy on institutional green and poignantly support the text. A must for children's collections that should also be strongly considered for libraries serving nursing homes.Jody McCoy, Casady School, Oklahoma CityCopyright 1994 Reed Business Information, Inc.Ages 5-8. About to visit his grandmother at the Sunshine Home for the first time, seven-year-old Timmie is scared but won't say so. Yet he describes the building as "barf green," his stomach hurts when he enters, and he notices his mom speaks in a "bright and sparkly" voice he's never heard before. Once inside, the visit goes well. Best of all, Gram seems the same. But as soon as Timmie and his parents leave, Timmie's mom dissolves into tears. When Timmie runs back inside to give Gram the school picture he'd forgotten, he finds her also sobbing. Gram apologizes and explains she doesn't want anyone to know she's unhappy because it's easier on everyone that way. But Timmie, remembering how his fears were allayed when he confessed them to his dad, insists, "It's better when you tell. Honest. You don't feel so scared." With that, Timmie hurriedly retrieves his parents, and the four share their feelings about missing each other. In her realistic watercolors, de Groat defines the images of Bunting's tender, true-to-life story: Timmie's face stares out at readers with apprehension before he enters the home, then registers discomfort at seeing a bib tied to Gram when she eats, and finally relaxes when he talks with Gram. Scenes in the home are painted in institutional greens, yellows, and corals culled from the floral motifs in the wallpaper and curtains. Youngsters whose families are wrestling with similar concerns over an elderly or unwell grandparent will especially relate to the dilemma conveyed here with honesty and some sadness but with a prevailing hopefulness. Ellen Mandel; Title: Sunshine Home | [
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15,465 | 18 | Grade 5-8-In 1879, Robert Louis Stevenson journeyed from Scotland across the Atlantic and then by train across the United States to join the woman he loved in Monterey, California. Murphy has drawn from the writer's journal to provide a fresh, primary-source account of transcontinental train travel at that time. Choosing by necessity the cheapest passage, Stevenson traveled with other newcomers to the U.S. who had not yet reached their final destination. He describes his companions, the passing countryside, the interior of the railroad cars, and daily life aboard a train. Into these journal entries, Murphy has woven meticulously researched, absorbing accounts of the building of the railroad and its effect on the territory it crossed: the disruption and destruction of Native American life, the slaughter of the buffalo, accidents, the development of the Pullman car, the towns that quickly came and vanished as the construction crews moved on, the snowsheds built to protect the trains in the Sierra Nevada mountains. Abundant, carefully selected period photographs, engravings, and lithographs are every bit as intriguing as the text. Appended is a lengthy bibliography with some original source material. This work supplements Leonard Everett Fisher's more extensive Tracks Across America (Holiday, 1992); it is a readable and valuable contribution to literature concerning expansion into the American West. Diane S. Marton, Arlington County Library, VACopyright 1993 Reed Business Information, Inc.Gr. 5 and up. As he did in The Boys' War (1990) and The Long Road to Gettysburg (1992), Murphy draws on memoirs and letters to humanize history. This time his main source is the journal of the great writer Robert Louis Stevenson, who traveled in 1879 from Scotland to the woman he loved in California, first on a crowded boat and then on a series of crammed, painfully uncomfortable trains on the transcontinental railroad. Murphy weaves together Stevenson's perilous journey with a general history of the railroad--how it was planned and built, who built it, what it was like to ride it if you were rich and if you were poor, and how it changed the country and those who lived there. Murphy's style is plain: facts and feelings tell a compelling story of adventure and failure, courage and cruelty, enrichment and oppression. The handsome book's design includes lots of white space, two endpaper maps, and many prints, drawings, and black-and-white photographs, carefully captioned to make you pore over the details. The direct quotations from Stevenson show him as observer and participant. This was before he became famous, and he identifies with the emigrants' painful struggle as well as their hope. He's excited by the diversity in America (he loves the place names that express how "all times, races, and languages have brought their contribution"); at the same time, he's appalled at the treatment of Native Americans ("I was ashamed for the thing we call civilization"). Murphy provides no direct documentation (often the source is "one passenger recalled," "some historians have speculated"), but the very long bibliography will be a starting point for those stimulated to read further. The experience of ordinary people revitalizes the myths of the West. Hazel Rochman; Title: Across America on an Emigrant Train | [
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15,466 | 18 | The white pines of colonial New England were truly "giants living on this land," as first-time author Appelbaum imaginatively demonstrates. The trees, she notes, "stood taller than an apartment house twenty-five stories high, taller than the tallest building ever built in New Hampshire or Maine." Her story uses a wealth of such well-presented facts to describe how, in King George's day, these trees were laboriously cut, hoisted onto huge axles, hauled by teams of oxen to the nearest river and eventually transported to England, where they became the giant masts of British warships. These trees have all been felled, but as Appelbaum optimistically concludes, "giants are growing now." The scratchboard illustrations give this text real drama. McCurdy ( The Beasts of Bethlehem ) recreates the massiveness of his subject with heavily black trees that tower past the edges of the suitably tall (12-inch) pages or topple from one corner of a spread to another, dwarfing the men who harvest them. These powerful images make a potentially esoteric subject concrete and approachable. Ages 7-up. Copyright 1993 Reed Business Information, Inc.Gr. 2-4. Much more than a simple ecology lesson, this picture book dramatizes both the power of nature and the drive of human technology. Giant white pine trees once grew in the New England woods for thousands of years; today there are none. In the eighteenth century, the British needed the trees for their great warships, ships that required masts 40 inches wide at the base, 120 feet tall, and absolutely straight. The facts are astonishing: Forests had to be cleared; roads had to be cut straight because a mast tree couldn't bend around a corner; special mast ships carried the great logs to England. The prose is restrained and lyrical, precise about the mechanism by which the trees were marked, cut down, and hauled to the sea, and romantic about the giants that lived on this land. McCurdy's dramatic black-and-white scratchboard drawings, many spread across two pages, capture the sweep and detail of the landscape, the anguish of the tree felling, and the huge, lumbering procession of the oxen straining at their chains to drag each heavy trunk to the sea. There's no hectoring about the environment, but the sense of grief is manifest; the trees are gone. And then the quiet surprise of the ending: "Step into the woods. . . . Giants are growing." Hazel Rochman; Title: Giants in the Land | [
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15,467 | 3 | Karas's strong signature style adds punch to Rattigan's ( Dumpling Soup ) sweet but befuddling tale. On his birthday Truman receives a mail-order "ant farm" from his Aunt Fran. But homonyms, for some reason, prove his downfall--pretty soon, he's overrun by hordes of generous "aunts" who shower him with affection. Truman treats them much like a cute but unexpected litter of puppies; he eventually allows a crowd of lonely kids into his house, and each pairs off with his or her ideal aunt. In the denouement, Aunt Fran arrives, apparently knowing what's happened ("He saw the twinkle in her eye. 'You did a wonderful thing,' said Aunt Fran"), but she never explains the strange gift. Karas's unique compositions make bold use of rich color, flattened perspectives and amiable, ruddy-cheeked figures. Still, the illustrations can't help but seem subdued in comparison with his adventurous work in Frances Minters's striking Cinder-Elly (reviewed below) . This may be attributable to the written material: try as it might to offer warmth and wackiness, Rattigan's narrative doesn't take risks--or, for that matter, make a clear point. Ages 4-8. Copyright 1994 Reed Business Information, Inc.PreSchool-Grade 2-It's a good pun, mistaking "aunt" for "ant," and one that tickles young ears. Aunt Fran sends Truman a coupon for an ant farm for his birthday, but when he tries to redeem it, he is sent more than 50 aunts instead- flattering aunts and funny aunts, aunts who bake and aunts who knit, gymnastic aunts and aunts who tickle-and they just keep coming. His first problem is what to feed them; his second, to find the right nieces and nephews for them. It's a major project, but he manages to make all the right matches and ends up with the one who has it all-Fran. This is a more playful book than Rattigan's Dumpling Soup (Little, 1993), and is served well by its art. Karas's amiable, pudgy cartoon characters have enlivened several beginning readers; his style is sharper here. Like the best cartoonists, he creates a multitude of expressions and stances with a minimum of line. The result is drawings that are both childlike and sophisticated. Using skewed proportion and perspective, he fills the pages with frantic activities that enhance and build upon the goofy appeal of the text.Sally Margolis, Deerfield Public Library, ILCopyright 1994 Reed Business Information, Inc.; Title: Truman's Aunt Farm | [
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15,468 | 11 | Peer approval and the need for good communication are the themes of this quietly appealing story. Like many younger siblings, Jamaica is often stuck wearing hand-me-downs, in this case, her big brother's "old gray boots." After her friend Brianna makes fun of Jamaica for wearing "boy boots," the resourceful heroine enlarges a hole in the toe of one of the offending galoshes, thus speeding up the need for a trip to the shoe store. When Jamaica returns to school, resplendent in a brand-new pair of cowboy boots, Brianna is once again ready with a put-down. Hurt, Jamaica retaliates with a remark about Brianna's own footwear. As in her previous Jamaica books, Havill displays a clear grasp of what matters to children. The simple, direct prose finds its complement in O'Brien's cozy, realistic watercolors. The pictures of Jamaica and Brianna are convincing; an additional pleasure are the vividly rendered bit players (Jamaica's classmates and family) who grace the background of nearly every page. Ages 4-8. Copyright 1993 Reed Business Information, Inc.Kindergarten-Grade 3-Another charming book about Jamaica, a young African-American girl. This time, the story concerns what happens when she and Brianna, an Asian-American classmate, allow envy to undermine their friendship. Jamaica has to wear her older brother's outgrown, worn-out boots one snowy day. She is not happy about this, and is not helped by Brianna's unfeeling comments. Nor does she appreciate her friend's mean remarks when she gets new boots. Both girls are upset and angry, but they are able to work things out in a satisfying way. O'Brien's illustrations are realistically and beautifully done. They derive their power from the artist's ability to re-create the whole gamut of emotions that can be reflected in little girls' faces. Her solid watercolor paintings wonderfully complement the text, which is gentle and understated. Never preachy or overly dramatic, Havill's tender and sensitive story can be used to help young children deal with negative feelings.Carol Jones Collins, Montclair Kimberley Academy, NJCopyright 1993 Reed Business Information, Inc.; Title: Jamaica and Brianna | [
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15,469 | 1 | Professor Potts's unique fossil assembly puts a sportive spin on anthropology--Donald Carrick's lushly-hued, intricate artwork completes the picture. Ages 3-8. Copyright 1992 Reed Business Information, Inc.; Title: Big Old Bones: A Dinosaur Tale | [
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15,470 | 2 | Falwell ( Feast for 10 ) decks out this understated picture book in nursery-room colors--an appropriate choice, as her story prepares small children for the imminent birth of a sibling. A multiracial family welcomes a new child, the parents explaining to their firstborn what having a baby means to the family: "We have a baby! A baby to love . . . " The parents include the older child--for example, the illustration for "A baby to feed" shows the infant at the mother's breast, the child curled at her side, sipping from a straw. The cut-paper artwork has the texture of crayon drawings, adding movement to the clean, clear compositions. Both pictures and text extend to the reader the warm, cozy exchanges of these parents and their young. Ages 2-5. Copyright 1993 Reed Business Information, Inc.PreSchool-Each new facet of taking care of a baby is brought out in this charming picture book. Not only are new infants exciting, they're also a big responsibility as Falwell gently reinforces. With an economy of text and simple illustrations, she describes bringing a baby home, involving a sibling in its care, and a happy family going through its routine. Soft pastel hues of pinks and salmons, purples and blues highlight the action. The themes and ideas introduced here will be best brought out in one-on-one sharing. Although children may not notice or care, Falwell's illustrations are ethnically ambiguous, and it is impossible to determine the gender of the older child. A sound addition to the large body of books about babies.Elizabeth Hanson, Chicago Public LibraryCopyright 1993 Reed Business Information, Inc.; Title: We Have a Baby | [
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15,471 | 18 | Greenfeld ( Marc Chagall ) has a rare ability to focus on a very emotional topic and to convey that emotion to readers. Here he presents the stories of Jews who, as children, survived the Holocaust in hiding. Some posed as children of non-Jewish families, others were sheltered in religious institutions or orphanages, still others spent years in airless bunkers or attics. Some lived in constant fear, moving from place to place; others did not realize they were in danger and spent the war in relative peace. A few were resented and even betrayed by those who hid them; luckier children were welcomed as part of the family. Incorporating his subjects' testimonies into succinct accounts of individual survival, Greenfeld produces a well-rounded and varied picture of their collective experiences, from the first stirrings of war through their liberation and beyond. The volume's design intensifies the impact of the stories: contemporaneous photos of the subjects, distributed throughout the text, put faces with the words. This moving, thoughtful approach to the study of the Holocaust will help young readers grasp the horrors endured in those years by people their own age. Ages 8-up. Copyright 1993 Reed Business Information, Inc.Grade 4 Up-The experiences of 15 children who survived the Holocaust in hiding are presented here within the historical context of the Nazi rise to power and World War II. These youngsters were sheltered in a variety of private homes and institutions by "righteous Gentiles," family friends, and those simply looking for additional money; some were resented, some treated compassionately, and others mistreated and abused physically. Greenfeld has interviewed these survivors, who are now living in the U.S., and has recorded their memories. Both the mundane and the unusual are remembered; the most commonly described feelings are the fear that family members would perish and the sense of guilt at having survived while others did not. There are reminiscences of narrow escapes and poignant remembered pleasures of edible treats. While the chronological arrangement of the book makes it difficult to follow a specific child's story (it is possible by using the excellent index), it succeeds admirably in allowing readers to place the experiences described within the framework of the Holocaust. An excellent selection of black-and-white photographs and an open design contribute to making this an important and accessible resource. Susan Kaminow, Arlington County Public Library, VACopyright 1994 Reed Business Information, Inc.; Title: The Hidden Children | [
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15,472 | 2 | "It's Father's Day, and four-year-old Susie has planned a perfect outing with all the things she knows her dad will like the best. . . . Bunting's simple, witty text sketches a warm father-daughter relationship and affectionately glances at the four-year-old mind at work. Meddaugh's bright watercolors and pencil illustrations add to the humor as they show the two enjoying the day but with clearly differing levels of energy and points of view." Booklist, ALA"Clearly the perfect Father's Day requires the perfect father, and Susie's parent quite literally takes the cake. Meddaugh's balloon-colored cartoons are perfectly tuned to the spirit of the day. With more spontaneity than most made-to-order picture books, this is an engaging family portrait and a winning tribute to 'Dad.'" School Library JournalEve Bunting has written over two hundred books for children, including the Caldecott Medal-winning Smoky Night, illustrated by David Diaz, The Wall, Fly Away Home, and Train to Somewhere. She lives in Southern California.; Title: A Perfect Father's Day | [
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15,473 | 0 | Grade 5 Up-The story of a fictional North African city throughout 14 stages of history is revealed in words and intricately detailed black-and-white drawings, in a style reminiscent of David Macaulay's work. Thousands of years ago, hunter-gatherers begin to inhabit a region on the Mediterranean coast of North Africa. By the year 2,000 B.C., a fortified village has sprung to life; Phoenician traders are the first to establish a city on the site. In the seventh century A.D., Islamic conquerers capture it, naming it Umm El Madayan. The city becomes a thriving commercial, educational, and religious center whose "Golden Age" occurs in the 16th and 17th centuries. At present, Umm El Madayan struggles to maintain a sense of its past while coping with the complexities of modern life. Each brief chapter includes a two-page spread showing an overview of the region; the changes over the centuries are fascinating. In the second two-page spread, a small version of the overview is placed on the left, with significant areas shadowed in black. Larger illustrations on the right often depict important buildings, with cutaways revealing interior views. The text is crammed across the top in fine print, with little or no white space between words and pictures. Although the drawings are spectacularly detailed, specific features are labeled with tiny numbers that are difficult to see. The overall effect is crowded and a little overwhelming. Many specialized terms are used in the text, but not always defined. Despite these problems, the book provides an informative window into a place and time that will be unfamiliar to many young readers. Mary Jo Drungil, Niles Public Library District, ILCopyright 1994 Reed Business Information, Inc.Gr. 7-10. Comparable to others in the series, for example, Hernandez's San Rafael (1992), and in the style of David Macaulay's Castle (1977), this large-size, illustrated volume takes a fictional Islamic Arab city on the North African coast and presents its history in 14 stages: from the early hunter-gatherers to the Phoenicians, the Romans, and the Christians; through the rise of Arab culture, the Ottoman Empire, and the dominance of a rich Islamic tradition; and finally, the mix today of Islamic and Western influences. Each stage is presented in meticulously detailed ink drawings--first a double-page spread of the whole city plan; then two pages of cross-sections and diagrams, with precise, beautiful drawings of typical buildings: a Roman amphitheater; a Christian cathedral; an Arab house; a Turkish mosque; a contemporary airport, etc. Also shown are individual objects of intricate artistry. The text, translated from the Italian in plain, technical prose, summarizes the history and politics of each period and shows how they affect architecture and city design. A dominant theme is that the infusion of many traditions over the centuries has led to a rich multiculturalism, even while there is a tension between the pull of tradition and the dazzle of the modern. Unfortunately, no sources are provided, but this is a fresh approach to history and a welcome subversion of popular stereotypes about the "exotic" Islam of camels and harems. Hazel Rochman; Title: Umm El Madayan: An Islamic City Through the Ages | [
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15,474 | 14 | Ages 4^-8. This picture book focuses on the Christmas Eve celebration of Las Pasadas, when neighbors act out the story of the peregrinos (wanderers) in search of shelter for Mary and Joseph. Carlos Castillo is a small boy who loves the tradition, including the mouthwatering foods, the Nativity creche, the pinata, and the lighting of the farolito lantern. When the Las Pasadas procession comes to Carlos' house, his grandfather isn't home yet, so Carlos has to act the part of the mean innkeeper. The familiar request is elemental ("We have come a long journey / And are asking a place to rest" ). Carlos shivers as he gives the harsh reply ("I don't care who you are. / Just let me sleep" ), until, finally, he flings the door wide open and shouts for everyone to come in. The bright acrylic pictures are reverential and contemporary, expressing both Carlos' sense of wonder and the immediacy of a warm family holiday. A detailed final note explains the customs and their variations among different communities. Hazel Rochman"A story that effectively introduces one culture's oldest holiday traditions." (School Library Journal); Title: Carlos, Light the Farolito | [
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15,475 | 11 | Narrated by a city boy living amid crowded concrete and clamorous machines, this visit to a "secret place" quietly confides the treasure of a tiny bit of wilderness. In Bunting's (Someday a Tree; Smoky Night) muscular prose and in Rand's (The Owl Who Became the Moon) dusky illustrations, a vulnerable, bright hope emerges. Where a hidden river runs through a cement canyon, the boy and his small band of adult friends find patches of green and evidence that nature has persevered: sparrows, of course, but also green-winged teals, buffleheads, mallards, a white egret and ducklings. Nighttime brings other marvels: a coyote, a mother possum with babies clinging to her back. The boy's response is an authentic, uncontainable enthusiasm?"I want to tell everyone what's here." But his friend's warning that "some people might want to take the secret place and change it" is too discomforting a threat. While the youngster shares the wonder of his secret place intimately and abundantly, he entrusts its precise identity not even to the reader. Revealing and concealing at the same time, this book visits upon the reader the awe and mystery of an almost sacred initiation. Ages 5-8. Copyright 1996 Reed Business Information, Inc.Kindergarten-Grade 3?The cover illustration reveals to readers what the young narrator has discovered?a duck and her ducklings hidden amid the concrete and grime of the city. He shares his precious find with just a few appreciative adults and, in the process, introduces readers to a variety of wildlife. As his enthusiasm for this special spot grows, he wants to tell everyone about it but wise counseling from an adult cautions him to "be careful" because "some people might want to take the secret place and change it." Instead, readers are left with a bit of a hint as to its location?just enough to send them off to explore their own cities and towns. Double-page watercolor illustrations offer varying perspectives, and nature and the urban environment alternate as the dominant element. A dark palette contributes a sense of mystery and solemnity. Nighttime scenes acquire a magical quality when characters are outlined in a golden glow. The spare but lyrical text is boxed in the blues and greens of water and sky with the city's soot often, but not always, intruding. The illustrations are large enough to share with a group, and the text has a natural pacing well suited to reading aloud. Children will be delighted by the opportunity to be included in this secret, and will also share a profound respect for nature and a sense of joy in the triumph of a small piece of wilderness over urban decay and pollution. Like the secret place, this is a story that is gentle yet powerful.?Carol Ann Wilson, Westfield Memorial Library, NJCopyright 1996 Reed Business Information, Inc.; Title: Secret Place | [
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15,476 | 2 | A child's unrest over the departure of his grandfather sparks the Caldecott Medalist's provocative new story, which begins with Sam gripped by the thought of "how small Grandpa had looked waving good-bye." Grandpa's destination is not revealed, but it's not a pleasant one. So when the boy awakens the next day to find that he has the face of an elderly man, he worries that he, too, will be sent away, "you know, where Grandpa went." At school, Sam is teased by classmates and shunned by friends. Baffled and hurt, he is in the process of running away when a skateboard lands at his feet. He takes off on it, impressing a playground of kids with his tricky maneuvers. Tired, the man-child returns home and, talking to himself, utters words that cut to the core of the story: "Who cares what I look like? I'm Sam. Nobody can change that." Once this valuable if obvious message is delivered, Say returns Sam to his youthful self, camouflaging the transformations by implying that Sam has been dreaming. More affecting than the text's messages about outer appearances and inner truth, and clearer than the undercurrents about perceptions of the aged, are Say's hauntingly realistic paintings, which simultaneously present a convincing likeness of an old man's face on a boy's body and an equally effective sense of the confusion and betrayal Sam is experiencing within. All ages. Copyright 1995 Reed Business Information, Inc.Kindergarten-Grade 3?This haunting story exposes the agony caused by American attitudes toward aging and differences. Sam enters an empty house after school and instantly pictures his grandfather's final wave good-bye (presumably off to a nursing home). Sam dreads getting old. The next morning, his entrance into the kitchen causes a family commotion; when he turns to look in the mirror, his face is wrinkled, his hair gray. His mother, the epitome of calmness, marches him off to the doctor who diagnoses an unspecified skin condition and sends him to school. There, as in the kitchen and examining room scenes, the onlookers face Sam and readers?registering horror and repulsion. After a second day of taunting and teasing at school, he prepares to run away, but a skateboard rolls by and Sam hops on, losing himself in the experience. That night he comes to terms with the difference between his inner and outer selves. Upon awakening, he again sees a stranger in the mirror?this time it is Sam the boy. Was this a dream or did it really happen? Say leaves that question unanswered; there are details that could support either conclusion. But all the elements?from the abundance of gray, undecorated backgrounds to the utter pain in Sam's eyes; from the disturbing incongruity of the aged face on the small, sneakered body, to the spare, matter-of-fact telling?contribute to a book that is uncomfortable, unsettling, and oh-so-necessary. Use it to probe issues of appearance in the classroom or with individuals. It is far superior to the many books on differences that glut the politically correct market.?Wendy Lukehart, Dauphin County Library, Harrisburg, PACopyright 1995 Reed Business Information, Inc.; Title: Stranger in the Mirror | [
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15,477 | 12 | "Upon using this humorously presented book, children will truly improve their styles of writing." School Library JournalMarvin Terban's popular wordplay books for Clarion include IN A PICKLE AND OTHER FUNNY IDIOMS and TO HOT TO HOOT: FUNNY PALINDROME RIDDLES. He lives in New York City.; Title: It Figures!: Fun Figures of Speech | [
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15,478 | 1 | Grade 2-4?Information about honeybees has never been more interesting. As in Micucci's The Life and Times of the Apple (Orchard, 1992), text and illustrations perfectly complement one another in a concise presentation of facts about the insects both within and outside the hive. Their physical characteristics, division of labor, and role in pollination are fully described. Additional fascinating facts about a bee's year-round activities, the job of the beekeeper, the many products that contain beeswax and other natural products from the hive, and ways honey has been used throughout history are included. Excellent organization with attention to clear labeling of diagrams and correct juxtaposition of text and illustrations combine with a direct writing style that makes the material easy to understand. Even the "tail-wagging dance" that directs bees to flower locations is simple to follow. The author's naturalistic watercolors are beautifully rendered in soft hues that reflect the true colorations, and a whimsical little bee in glasses appears periodically to lend a touch of humor. There is no index, but a table of contents leads to specific topics. A book that is right on target for young readers, and one that would be a fine companion to photographed titles such as Barrie Watts's Honeybee (Silver Burdett, 1990).?Diane Nunn, Richard E. Byrd Elementary School, Glen Rock, NJCopyright 1995 Reed Business Information, Inc.Gr. 3-5, younger for reading aloud. Every bit as nicely designed and packed with information as The Life and Times of the Apple (1992), this book reminds us that original artwork can be more precise and just as spectacular as photographs in children's nonfiction: here, for example, there's a large, striking, double-page-spread illustration of a worker bee guaranteed to make kids gasp. Most of the drawings, however, are small, finely detailed, and many to a page. Along with reinforcing and expanding upon the text, they lighten the information load--a bespectacled cartoon bee adds a bit of comedy by flitting from page to page among his more realistically drawn relatives. Each nicely organized double-page spread deals with a different aspect of the honeybee variety we know best (Micucci is not concerned with African or Africanized bees). The information, which appears in concise, clearly written blocks of text, covers everything from distribution, reproduction, behavior, and honey manufacture to the honeybee's niche in history. A solid, fascinating treasure trove of bee stuff, as enriching to the mind as it is pleasing to the eye, Micucci's book is a wonderful example of how good children's nonfiction can really be. Stephanie Zvirin; Title: The Life and Times of the Honeybee | [
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15,479 | 0 | In the oral tradition of the griots (minister-like functionaries "with the wisdom of history"), Wisniewski brings to life a story of courage from the African country of Mali. Sundiata, born to the King and his second wife, "proved unable to speak or walk," and despite glowing predictions for his future he is hounded from his country. After years of exile, he is invited back to oust a tyrant and return his land to prosperity and peace. This retelling, though imbued with dignity and intelligence, proves somewhat confusing. Children may not be able to follow the convoluted series of events, while the multiplicity of characters--most with strange, hard-to-pronounce names--could well befuddle even the most assiduous reader. Wisniewski's stunning cut-paper illustrations, however, introduce to the text a striking vitality and beauty. Historically accurate images are sharp without starkness, expressive of raw power and delicate fragility by turns, and full of strong dynamism and motion. Bright rainbow colors capture the fabrics of Africa, and the text's patterned borders are suggestive of kilim rugs. An unremarkable narrative redeemed by inspired artwork. Ages 5-9. Copyright 1992 Reed Business Information, Inc.Grade 2-4-- An appealing biography of Sundiata, credited as the founder of the Mali empire. A lengthy author's note informs readers as to how little firsthand information on the topic is available, and that what is known has been handed down orally by griots , or African storytellers. Therefore, the narrative has the distinctive, if somewhat mystical, flow of an oral history. Sundiata neither walks nor speaks for the first seven years of his life, but is still named heir over his older brother. Regardless of the pronouncement, following the king's death, Sundiata and his mother are forced into exile. How the Lion King of Mali defeats his enemies and becomes the rightful ruler makes for an exciting tale. Wisniewski's characteristic artwork (vivid colored paper designs that have been intricately cut, arranged, mounted, and then photographed) add to the drama of the tale and are consistent with the folkloric tone. The characters have personality and vitality, and the setting has a texture and richness that heightens climactic moments of the story. Neither straightforward biography nor folktale, this is an interesting combination of the two. While some younger listeners may have difficulty following the somewhat choppy nature of the narrative as years fly by between the major events, older children will appreciate both the flavor and intrigue. All in all, another fine effort from a talented author/illustrator. --Linda Greengrass, Bank Street College Library, NYCopyright 1992 Reed Business Information, Inc.; Title: Sundiata: Lion King of Mali | [
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15,480 | 11 | Kindergarten-Grade 4?When Peter Chang's parents send him to Chinatown for the summer to stay with his great aunt, he feels alienated and homesick?until he discovers a worn-out dragon, large enough for 10 men to carry, crammed in a shop window. His aunt reluctantly agrees to let him take it home, and he embarks on a summer-long quest to restore the wrecked bundle of silk and wood to its former glory. He involves many others in the project: the tailor, Great Aunt's mahjongg friends, the kitemaker, the herbalist, an artist, and, at last, the Buddhist priest, all of whom are touched by Peter's determination. Watercolor paintings, reminiscent of Ted Lewin's work, lovingly depict in glorious and enticing detail a close-knit Cantonese community in an unnamed big-city Chinatown. Expressions and gestures vividly convey each character's emotion as Peter wins the adults over to his cause. His anxiety and joy, along with the affection and excitement of his elders as the dragon comes to life, light up the book. The well-written text, as substantial as the artwork in specific and authentic detail, draws readers into Peter's new world. A welcome story about contemporary Chinese American life.?Margaret A. Chang, North Adams State College, MACopyright 1995 Reed Business Information, Inc.Ages 4^-8. Although this story features a little boy, its main character is really a Chinese American community. Peter is not happy about spending his summer in Chinatown with his great-aunt. But his feelings begin to change when he spots an old, 10-man dragon in a shop window. With the help of his great-aunt, he acquires the dragon and sets out to repair it. Friends and shopkeepers are enlisted in the task. Mr. Pong the tailor agrees to sew up holes in exchange for Peter running errands; Miss Chiao the kitemaker fixes the tail; and his great-aunt's mah-jongg group gilds the dragon's horns. In the course of making the dragon new again, Peter learns about the people and shops of Chinatown as well as the traditions of his culture. Nunes' text builds to a satisfying conclusion, although it makes an occasional abrupt shift along the way. The expansive watercolor illustrations are warm, colorful, and full of details unique to Chinatown. An endnote provides information on Chinese dragon lore. Leone McDermott; Title: The Last Dragon | [
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15,481 | 17 | The whimsical, often astonishingly complex paper cuttings executed by Hans Christian Andersen serve as the subject as well as the principal illustrations of this attractively designed book. Striking cutouts, typically from white or light-colored paper, are set off by dramatic black backgrounds. A succinct text outlines the major events in Andersen's life, from his childhood in a slum of Odense to his later career as a celebrated writer. As Brust emphasizes, Andersen's paper cuttings were an integral part of his storytelling performances: he cut while he spoke, unfolding a finished piece at the end of his tale. A final chapter describes some of Andersen's paper-cutting techniques and discusses the history of that art form. An intriguing glimpse of the famous author's lesser-known talent. Ages 7-9. Copyright 1994 Reed Business Information, Inc.Grade 5 Up-As a storyteller, Andersen relied on simple language and dramatic gestures to tap the imagination of his listeners. Sometimes, it seems, he also supplemented his tellings with the making of paper cuttings, a popular craft in the mid-19th century. Brust provides a skeleton biography of Andersen using anecdotal reports of some of the occasions when he employed his handicraft to entertain children, capture a scene during his travels, and even as a sort of universal language when in a foreign country. The more than 20 reproductions demonstrate his imaginative use of materials. While none illustrate any of his stories, many cuttings demonstrate his skill in liberating intricate shapes and in designing complex, interlocking compositions. Nevertheless, the use of "amazing" in the title is a bit of an exaggeration. Rather, the book's value is in showing a little-known facet of the man's personality. The writing is direct and informative and uses quotations from letters and diaries to spice up the simple prose; the chapter on the art of paper cutting is a useful presentation of the technical processes. An unusual book that combines biography and creativity.Kenneth Marantz, Art Education Department, Ohio State University, ColumbusCopyright 1994 Reed Business Information, Inc.; Title: The Amazing Paper Cuttings of Hans Christian Andersen | [
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15,482 | 0 | At a time when many Americans are becoming more aware of the Islamic faith, this book, which explores the Muslim tradition of fasting during the month of Ramadan, is most welcome. Magid, who is too young to fast, watches the other members of his family fasting and wishes to be a truly obedient Muslim too. Unbeknownst to his family, Magid promises Allah that he, too, will fast. His family discovers his fast, and while Magid is chastised for being dishonest, his religious desires are honored, as he is given a modified fast to follow. Excellent watercolor illustrations add to the charm of this book. An informative afterward about the Islamic faith, a glossary and a pronunciation guide make it a good tool for teaching children about Islam and the awakening of religious desires. Ages 5-10. Copyright 1996 Reed Business Information, Inc.Grade 2-4?An interesting look at an Egyptian Muslim family's celebration of Ramadan through the eyes of eight-year-old Magid. The boy wants to fast from sunrise to sunset, a tradition usually reserved for those 12 and older. Mama consents to his skipping breakfast but he secretly plans and executes day-long fasts until his older sister discovers his deception and tells their mother. Magid realizes through gentle reprimand and family discussion that an obedient Muslim is also a truthful one, yet he receives congratulations from his grandfather for his true fast of the heart. Lewis's watercolors blend well with the text and give readers an accurate sense of character, location, and cultural tradition as well as a skillful portrayal of emotional nuance through facial expressions and physical stances. The artist's utilization of Arabic border motifs at the chapter heads echoes patterns seen in tile mosaics of the region. This is a refreshing visit to a '90s Muslim family that accurately represents Islamic practice and the spiritual reasons behind it. This attractive title is a warm and welcome companion to Dianne MacMillan's Ramadan and Id Al-Fitr (Enslow, 1994), which presents information from a purely factual point of view. Magid is an amiable ambassador for his faith.?Celia A. Huffman, Worthington Public Library, OHCopyright 1996 Reed Business Information, Inc.; Title: Magid Fasts for Ramadan | [
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15,483 | 11 | PreSchool-Grade 1?Two sisters romp through a market in Mexico while selecting birthday gifts for their mother. The simple rhyming text pairs the Spanish and English numerals 1-10: "Uno one/ We'll buy Mama a sun/ dos two/ Two doves that say coo-coo..." A Spanish pronunciation guide is included. The beautiful watercolor illustrations do an excellent job of capturing the girls' excitement and of portraying the varied merchandise in the market. However, the heavy, awkward use of shadowing makes the characters' faces unattractive, thus detracting from the otherwise carefree artwork. Moreover, the items to be counted (three bells, six castanets) are often difficult to discern within the scenes, diminishing the title's serviceability as a counting book. Despite these weaknesses, this is a useful tool for teaching children how to count to 10 in Spanish.?Denise E. Agosto, Midland County Public Library, TXCopyright 1996 Reed Business Information, Inc.Ages 4^-7. A rhyming text weaves together numbers from 1 to 10 in English and Spanish as two sisters gather presents for Mama's birthday from a Mexican market. Similar to her artwork in Barbara M. Joosse's Mama, Do You Love Me? (1991), Lavallee's luminous watercolors feature monumental figures painted in a bold and reductive style. The deceptively simple design is a delight to the eye as the illustrations vibrantly dance with the text in a count of the presents collected. Robust and radiant, this counting book effectively celebrates the gift of being bilingual. Annie Ayers; Title: Uno, Dos, Tres: One, Two, Three (Spanish Edition) | [
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15,484 | 1 | In this strategic endorsement of vegetarianism, six pigs foil the folks who would turn them into bacon. Farmers Bert and Ethel, who usually cultivate their gardens, raise half a dozen piglets to sell at auction. But the pigs overhear Bert and Ethel's grim plan, and plot an escape from the pickup truck that's taking them on their final ride. After they chew through a rope that ties the tailgates, the anthropomorphized pork-chops-to-be steal some clothes, disguise themselves and hop a bus to Florida. (Accompanied by a postcard signed, simply, "Oink!" the clothes are returned parcel post.) Christelow ( The Five-Dog Night ) contours her characters in ink and adds brightly hued, fluid watercolors. She derives humor from various pigs vs. people scenarios--Bert and Ethel don't realize that their livestock knows what's up, and the escapees, attired in dresses and hats, cross paths with the befuddled farmers many times. The high jinks are like a harmless game of hide-and-seek--just as long as readers forget that the pigs are running for their very lives. Ages 5-8. Copyright 1994 Reed Business Information, Inc.PreSchool-Grade 3-Bert and Ethel grow the best vegetables for miles around. Then Bert decides that they should raise pigs instead. His six piglets do well and grow quickly, and, when they overhear plans to take them to market, they plot their escape. And so the fun begins: they get out of the truck two by two, take clothes from a line and from a sidewalk-sale rack, and, thus disguised, board a Florida-bound bus, leaving the baffled Bert and Ethel behind. Months later the post office receives a box from Florida addressed to "the people missing hats, pants, dresses, shirts...and pigs." The pigs have returned everything, along with a postcard to Bert and Ethel with the message, "Oink!" The cartoon illustrations, executed in watercolor and pen and ink with a loose, sketchy line and light, bright colors, are filled with humor. Facial expressions are effectively conveyed with just a few dots and lines. The uncluttered composition allows children to focus on essential elements, such as a pig running off with the tailgate bolt and the posters of the lost articles and livestock on a bulletin board in a cafe. Observant readers will laugh as they spot the dressed-up pigs hitchhiking, walking around town, blending in with the townspeople. Even the endpapers are jolly. The lively, funny text employs vigorous verbs and moves along at a rapid pace. Whether listening in a small group or one-on-one, children will chortle over the antics of these clever porkers.Cynthia K. Richey, Mt. Lebanon Public Library, Pittsburgh, PACopyright 1994 Reed Business Information, Inc.; Title: The Great Pig Escape | [
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15,485 | 0 | Van Allsburg cuts loose with this inventive spoof that will keep readers guessing right up to the end. Riverbend is "the kind of place where one day was just like the rest," and it looks it, too-a simple collection of block houses and buildings outlined in black and white. Color soon appears on the scene, however, in the form of scribbles-"great stripes of some kind of shiny, greasy slime"-that puzzle and alarm the residents of Riverbend. Sheriff Ned Hardy aims to put an end to the mystery, and rides out with a posse in search of the answer. Turns out he and his townsfolk are actually trapped in a coloring book, a fact readers discover as the point of view shifts, pulls back and reveals a crayon-wielding hand coloring the pages with glee. Van Allsburg clearly had fun with this one, and readers likely will too. All ages. Copyright 1995 Reed Business Information, Inc.Kindergarten-Grade 3?In this fantastical Wild West story set in an actual coloring book, the "quiet little town" of Riverbend is mysteriously invaded by a slimy substance?crayon marks from a child's scribbles?that has the effect of stunning and paralyzing people and animals. Sheriff Ned Hardy and his men set out to get to the bottom of what has been terrorizing the town. In the end, they, too, are stopped in their tracks by the waxy slime as a child, armed with a full range of crayolas, is shown coloring in the last page of her "Cowboy Coloring Book." The illustrations of the town that readers see in the first pages are, appropriately, clean black-line drawings?not the rich, multidimensional illustrations usually associated with Van Allsburg's work. Like Jumanji (1981) and Ben's Dream (1982, both Houghton), this book's creative plot steps beyond the boundaries of reality, and because of its spare, coloring-book context, the artwork must also go beyond the artist's typical style. Larger collections will want to keep up with Van Allsburg's innovativeness, but this effort is pretty much a one-trick pony that most libraries can easily skip.?Christina Linz, Alachua County Library District, Gainesville, FLCopyright 1995 Reed Business Information, Inc.; Title: Bad Day at Riverbend | [
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15,486 | 5 | Climo and Koshkin, previously paired for Stolen Thunder: A Norse Myth reconfirm their compatibility with this stately picture book. Delving beyond the surface of the Greek myth of the fleet-footed princess, Climo's well-told tale raises issues of female worth and inclusion in male-dominated activities. She tempers the harshness of the ending (in which Atalanta and her true love are punished for failing to acknowledge divine help) in a thoughtful author's note that links the heroine to the modern Olympics, open to women athletes since 1900. Koshkin's striking, deep-toned, classically inspired paintings amplify the drama; framing each painting with architectural motifs, he matches Climo in her sensitivity to detail and ambience. Ages 6-10. Copyright 1995 Reed Business Information, Inc.Grade 3-7?By starting Atalanta's story with her rejection by her father (who wanted a boy), and carrying it past her race and marriage to her transformation into a lioness (because she failed to honor the gods), Climo hints at the rich psychological interest in her tale. A she-bear suckles Atalanta; a hunter raises her as a boy. Her athletic prowess first wins her notice, then acceptance, from her father; but what he really wants from her is a grandson. Melanion (Hippomenes in other versions) seems, at least, to love her for her own strong self. Atalanta, too, admires Melanion, and perhaps wishes him victory; although, as a true competitor, she tries her best to win. The apparent triumph of love is called into question by Aphrodite's revenge on the couple, both of whom are ungrateful to her for her gift. Koshkin's delicate but vibrant paintings, done in a style evoking the antique, set the raven-haired heroine and blond hero into an archaic Greek world of dress and decor. A slender architrave, pediment, and columns frame each picture. Aphrodite appears with her trademark swan and dolphins, while gorgeous double-spread endpapers depict the whole world of an ancient city-state. There are many retellings of Atalanta's story, but none surpasses this one.?Patricia (Dooley) Lothrop Green, St. George's School, Newport, RICopyright 1995 Reed Business Information, Inc.; Title: Atalanta's Race: A Greek Myth | [
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15,487 | 3 | Grade 1-4. Pure pleasure for any who are or know dedicated (obsessed) fishermen. Simon Henry, the quintessential angler, meets his match in Oscar, a catfish known for stealing almost any bait without getting caught. While buying fishhooks at Potato Kelly's Bait and Chowder Shop, Simon Henry vows to catch the wily beast, or engage his solemn self in a number of foolish consequences. His friend Potato Kelly urges him on with promises of new boots and more if he is successful. After several failures, the fisherman uses his truly "sour" socks as bait, but it's hard to say if he catches Oscar or if Oscar catches him. Sneed's bucolic watercolor spreads, awash with blues and greens, are ably coupled with Martin's pleasing text. The characters are crafted with warmth and humor; Simon Henry's no-nonsense scowling face and the twinkle in Potato Kelly's eye should not be missed. Not for beginning readers to tackle alone, but easy enough for those with some experience, this whopper of a fish tale also makes a good read-aloud.?Jody McCoy, Lakehill Preparatory School, Dallas, Copyright 1997 Reed Business Information, Inc.A meaty tale of the quest for an uncatchable fish named Oscar is told in folksy, irresistible language. Simon Henry's outstanding features are his ability to catch any fish and brag about it, his unsociable temperament, and his tight boots. In pursuit of his passion, he ignores even the ``Friday-Night-Potluck-Everybody-Come-and-Fling'' party in town. One day, Potato Kelly, female proprietor of the bait and chowder shop, tells him of the ``crafty, bait-grasping catfish'' in local waters, and the chase is on. The two odd-looking middle-aged characters wager with each other in colorful phrases about Simon Henry's ability to succeed. Since his socks ``were beginning to smell worse that sour milk, worse than secret-recipe stinkbait,'' he uses them as a lure. The catfish clamps on and tows the fishing boat like the shark in Jaws, finally leaving only half a sock behind. Simon Henry must do all the humiliating things he promised, and Oscar lives on, singing in the deep hole by Higgins Bend. The watercolor illustrations exaggerate as much as the text: Figures and landscapes sway with the artist's lyrical lines; perspectives as if from odd camera lenses distort and amuse. Some of the townspeople look quite goofy, but they also look familiar, in a tale clearly fished from American waters. (Picture book. 4-8) -- Copyright 1997, Kirkus Associates, LP. All rights reserved.; Title: Higgins Bend Song and Dance | [
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15,488 | 3 | Armour's comic, kid-pleasing escapade begins when Mrs. Elmira Deeds says to a deli owner, "I would like a pickle, please." But the lone green pickle sitting in the jar refuses to be eaten and flees the deli. Running down the street, it is followed by a peanut butter-and-jelly sandwich and other comestibles, all of which cry out, "Stop that pickle!" Inevitably, the other foodstuffs are devoured and the pickle allowed to continue its flight (why it's okay to eat, say, 17 toasted almonds but not a pickle remains a mystery). Shachat ( You Can't Catch Me ) contributes zany childlike art: the various snacks, personified with bulging eyes and short stubby legs, race across busy backgrounds. A hoot. Ages 4-8. Copyright 1993 Reed Business Information, Inc.PreSchool-K-A pickle that doesn't want to be eaten tries to run away, and various other foods chase him. If your readers enjoy stories about food, this might interest them at first. The illustrations, however, will send them running. They're very poor imitations of Maira Kalman and Hendrik Drescher's styles, with none of the humor, care, or detail that characterize their respective works. The writing isn't involving or clever enough for a read-aloud, and the story lacks the development of similar tales such as Jon Scieszka and Lane Smith's The Stinky Cheese Man (Viking, 1992) or even the traditional Gingerbread Boy. Stop that purchase order.Christine A. Moesch, Buffalo and Erie County Public Library, NYCopyright 1994 Reed Business Information, Inc.; Title: Stop That Pickle! | [
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15,489 | 5 | PreSchool-Grade 3-In this original fairy tale, Melanie, a blind girl, tends the sheep, spins, and weaves cloth that her grandfather sells at the town market. In the evenings, he tells stories about a troll who changes all who cross his bridge into gulls. One day, the elderly man hears of a healer and decides to bring him to Melanie. When her grandfather fails to return after a few weeks, the girl journeys alone to find him. Her journey, fraught with fear, takes her to the troll's bridge, but because she cannot see him, she cannot fall under his spell. As the enraged troll grabs Melanie, the gulls attack him, and he falls into the sea with the girl. Weighted by his gold, he drowns; the gulls, including grandfather, change back into human form. Melanie remains blind but, as she tells her grandfather, had she been able to see the troll, she would have been changed into a bird, too. The illustrations provide an Old-World, western European look. The heavily lined, jewel-toned watercolors are rendered in a palette of browns, tans, greens, and reds. The illustrations vary in size and are connected by ornate borders decorated with jewels and gold coins. The composition is busy, the poses stylized. The text is frequently pedestrian, with mannered dialogue, making it more suited to independent reading or one-to-one sharing than reading aloud to a group.Cynthia K. Richey, Mt. Lebanon Public Library, Pittsburgh, PACopyright 1996 Reed Business Information, Inc.Ages 5^-8. In this original fairy tale, a grandfather sets off on a dangerous journey through the Dark Forest in search of a healer who might be able to cure his granddaughter Melanie's blindness. When he doesn't return, Melanie goes after him, compensating for her disability by using her other senses: feeling for moss, which grows on the north side of trees, keeps her going in a northbound direction. With all the elements of classic fairy tales--a brave heroine, an evil villain (a troll who robs travelers and turns them into gulls), and magic spells--this is sure to attract primary-grade children, who will also be intrigued by Russian artist Dianov's ornate, highly detailed watercolors. A fine addition to fairy-tale collections. Lauren Peterson; Title: Melanie | [
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15,490 | 2 | Grade 6-9-Rupert has modeled an imaginative tale set in the city-state of Ife 900 years ago. Layo, a 12-year-old Yoruba girl, comes from a village of potters. Exceptionally talented, she longs to be able to work the clay as her elders do and to be freed from the menial, apprenticelike tasks that young women must perform. She is concerned not only with how to use her growing abilities in spite of the restraints placed on her by her age, but also faces the prospect of betrothal. When she travels to Ife to live and work with her grandmother, a potter of legendary ability, she faces challenges that test her as a person. The author is careful to stay true to her protagonist's rich culture, depicting its treatment of women, family structure, deep respect for crafts and craftspeople, business acumen, religious beliefs, and complex system of slavery. Readers will not only find this novel enjoyable, but will also come away from it with a greater knowledge of the Yoruba.Carol Jones Collins, Montclair Kimberley Academy, NJCopyright 1994 Reed Business Information, Inc.Gr. 6-9. The time is 900 years ago in the area of Africa that is now Nigeria. The Yoruba people live in a cooperative city-state ruled by a king believed to be divine, who inspires his people to create things of beauty from wood, bronze, and terra-cotta. Twelve-year-old Layo knows that she, like her grandmother, has a gift for working with clay, but tribal custom dictates that a woman practice the trade of her husband's clan. When she learns that the man chosen for her comes from a family competing against her grandmother to create a death mask from bronze rather than terra-cotta, Layo decides to find a way to prove the match unsuitable. Elements of romance and mystery keep the pages turning in this historically and culturally fascinating coming-of-age tale. Layo is completely believable, both in her own time and culture and in today's, which makes this an excellent beginning vehicle for introducing history and an appreciation of other cultures to middle-grade readers. Rupert worked with a Yoruba anthropologist and incorporates that research well, managing to instill a sense of another time and place without preaching or writing down to her readership. Her style is a bit choppy in places and repetitive in others, but overall, this is an enjoyable and informative read. Jeanne Triner; Title: The African Mask | [
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15,491 | 11 | Lester ( Imagine ; Isabella's Bed ) opens the barn door, as it were, upon her recollections of life on the Australian farm where she grew up. Family members are introduced up front; the reader then follows the various characters through the ups and downs of one year. As narrator, Lester also lets readers in on some more personal matters--such as her longing for a new pony or her attempts to become famous. Summer days, she reports, were filled with driving "mobs" of cattle, picking blackberries and, perhaps, taking a swim. Australian autumn brought new calves, rainstorms and mushrooms; after a winter spent doing chores, springtime marked the season for "tadpoling and fishing expeditions" as well as baling hay. Children will likely be fascinated by the different seasons Down Under. Lester's fond remembrances contain dollops of humor and tenderness, and a wealth of information about farm life can be inferred. Through it all, the author/artist's childlike sensibilities keep the pace lively. Her somewhat pale watercolor palette accommodates each of the seasons, offering a pleasant glimpse at a foreign landscape. And her friendly cast of kind-faced figures is truly likable. Ages 4-8. Copyright 1994 Reed Business Information, Inc.Grade 1-3-American readers will be introduced to a "jinker," a "bush run," and "mobs of cattle" in this gentle memoir. Spanning one year of her childhood on an Australian farm overlooking the sea, Lester's narrative begins and ends near Christmas time in the summer-perhaps a puzzling combination for northern hemisphere children. The scant story line-a child longs for a horse to replace deceased Inky-weaves in and out of the scenes of the everyday life of this family of four children. Such events as the Quietest Pony Contest, the dog high jump, a difficult calf birthing, and cattle drives are engagingly described. Illustrations are plentiful and intricate; varying sized panels (often three per page) create a design that adds great visual interest. The straightforward family portrait that stretches across the top of the first page is particularly charming, introducing each member astride a horse or motorbike. The author's writing and illustrating style is delicate. Her watercolors, neatly lined with ink; the highly stylized figures and faces; and the abundant detailing all contribute to this lovely picture book.Lee Bock, Brown County Public Libraries, Green Bay, WICopyright 1994 Reed Business Information, Inc.; Title: My Farm | [
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15,492 | 2 | Van Allsburg swings back into his most mystifying mode with this enigmatic, visually sophisticated tale of Monsieur Bibot, a "very fussy" French dentist who is given a pair of magic figs as a form of payment by an impoverished patient. The fruit, he's told, has the power to make dreams come true. The pragmatic Bibot scoffs at this, of course, but learns otherwise after eating one. Accordingly, he makes plans to use the second fig to become the richest man on earth (and to ditch Marcel, his oppressed terrier, for a string of Great Danes). The images in the book are unsettling, even ominous: Bibot lurking in a doorway with a rolled-up newspaper, ready to punish Marcel; Bibot gleefully clutching a pair of pliers as he prepares to extract an old woman's tooth; a frowning Bibot standing, fists clenched in anger, as his patient offers him the figs instead of cash. The dentist is a thoroughly unsympathetic character; readers will rejoice when the long-suffering Marcel gobbles the second magic fig and, in a poetically just ending, reverses the master-slave relationship. The sepia-toned illustrations are classic Van Allsburg, offering a visual study that is downright psychological; the artwork's spare lines and clean surfaces reflect the obsessively orderly Bibot's nature. Adults will appreciate Van Allsburg's acuity, while many children will relish the darker aspects of his story. A significant achievement. All ages. Copyright 1993 Reed Business Information, Inc.Grade 3 Up-Another quietly bizarre and stunning picture book from Van Allsburg. In this modern fairy tale, a Parisian dentist (a prissy and sadistic man who even hates his own dog) is given two magic figs by an old woman who tells him, "'They can make your dreams come true.'" Bibot scoffs. However, after the first fig proves to do exactly that (in a scene in which the dentist walks down the street in his underwear, and then the Eiffel Tower droops over), he realizes how precious they are. Night after night, he hypnotizes himself into dreaming that he is the richest man on earth. Finally, he prepares to eat the second fig. But his dog, Marcel, beats him to it, and the following morning, the dentist wakes up as the helpless pup under a bed, with his own face calling to him, "'Time for your walk. Come to Marcel.'" The Sweetest Fig is a superb blend of theme, language, and illustration, with a very grabbing plot as well. The writing is formal yet direct, using simple, deliberate vocabulary to match the elegant setting and mood. The shades of gray, cream, and brown and the calm, stable design enhance this mood. The angle at which readers view scenes is always intriguing and heightens their involvement. Most children old enough to read this complex book on their own will be fascinated and will return to it again and again. Van Allsburg at his best.Lauralyn Persson, Wilmette Public Library, ILCopyright 1993 Reed Business Information, Inc.; Title: The Sweetest Fig | [
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15,493 | 15 | Kindergarten-Grade 3?Four people who love to work in their gardens live at the end of Blackberry Lane. Mr. Munsing has seedless watermelons, Ms. Elwood grows pumpkins, Mr. Febold sunflowers, and Mr. Carey has holes in his plants. His neighbors all have ideas on how to get rid of the snails that are causing the problem, but Mr. Carey rejects their well-meaning advice gently, saying: "I see it in a different light." One tranquil night, the sleepless neighbors venture out and discover Mr. Carey's secret-with their glistening trails and quiet munching, the snails make the garden a magical place in the moonlight. In fact, it's just right for sitting on the porch and relaxing, which is what the four friends do. Karas's childlike pastel illustrations done in gouache, acrylic, and pencil are marvelous. They blend perfectly with the text to offer a succinct but beautiful lesson in tolerance and understanding. Mr. Carey's Garden makes a good read-aloud choice for small groups, but its full impact needs to be absorbed one-on-one so that the snails and the details can be seen up close and savored.?Judith Constantinides, East Baton Rouge Parish Main Library, LACopyright 1996 Reed Business Information, Inc.Ages 5^-8. Ms. Elwood, Mr. Munsing, and Mr. Febold have impressive gardens, but Mr. Carey's is full of snails that eat holes in his plants. "Stick them in the freezer. Frozen snails," advises Ms. Elwood; "Salt," suggests Mr. Munsing; "Poison pellets," declares Mr. Febold. But Mr. Carey takes a different attitude toward his little visitors, an attitude that makes no sense to his neighbors until they catch a glimpse of Mr. Carey's nighttime garden, turned magical by glittering moonlit snail trails. A delicate palette of greens, earthy browns, and purples befit the subject, and there's a delightfully simple quirkiness to Karas' cast of elderly characters that makes them anything but stodgy. A quiet book, with a meaning that carries on beyond the confines of the story. Stephanie Zvirin; Title: Mr. Carey's Garden | [
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15,494 | 2 | Grade 4 Up?A good update to The Complete Babysitter's Handbook (Messner, 1980; o.p.). Little of the earlier edition has been eliminated, but two chapters of timely information have been added. All aspects of babysitting are considered: from getting started and finding jobs; through techniques for feeding, playtime, and bedtime; to responding to emergencies. The advice is solid, practical, and direct. Especially pertinent is the new material, which covers responsibility and courtesy, respect for the employer's family's values and children's rights, and the need for careful personal hygiene. The authors also address potential problem situations, such as parents who are late, intoxicated, or who act in an inappropriate manner; and suspicion of child abuse. The overall appearance of this edition has been freshened with new illustrations and layout. A solid first purchase.?Joyce Adams Burner, formerly at Spring Hill Middle School, KSCopyright 1995 Reed Business Information, Inc.; Title: The New Complete Babysitter's Handbook | [
67902
] | Train |
15,495 | 1 | Brenner and Takaya make a bold move, opening this volume with a well-known scenario: a mother duck flies through the air, surveying the ground below for a spot to build a nest. Here and in several subsequent spots, including scenes in which the matriarch and her brood march in single file along a sidewalk and waddle across a busy street with the help of a policeman, the narrative and Otani's passable watercolor-and-ink illustrations closely echo Robert McCloskey's classic Make Way for Ducklings. Yet this more expansive tale, told in two chapters, has its setting in Tokyo. There the duck and her offspring, especially the diminutive Chibi, become media darlings. Their story, a true one, takes a dramatic turn when floods cause the death of one duckling and Chibi is lost, eventually reappearing "balanced like a surfer on a piece of Styrofoam." Smoothly integrating Japanese vocabulary into their account, the authors offer a welcome glimpse of bustling contemporary Tokyo. Ages 5-9. Copyright 1996 Reed Business Information, Inc.Grade 2-4?This true story is reminiscent of Robert McCloskey's Make Way for Ducklings (Viking, 1941), but it's set in modern Japan. When a duck nested beside the pool of a downtown office building to raise her young, the citizens of Tokyo became intrigued. The smallest duckling, Chibi, became the favorite of many, including the photographer Sato-san. He took it upon himself to look out for the ducks' safety. When a terrible storm upset the calm of their newly discovered sanctuary in the moat surrounding the Imperial Palace, Chibi and two other ducklings disappeared. The people searched and worried, but happily Chibi turned up unharmed. To protect the family, gardeners built a strong duck house that still floats in the moat of the Imperial Gardens. The ducklings, depicted in watercolor and ink, have plenty of personality as they splash, dive, and learn to play follow the leader. The scenery is faithful to the city and its people. There is a one-page glossary of Japanese words used in the text. Teachers searching for curricular connections to Japan will be pleased by this offering, and it will appeal to animal lovers as well, perhaps even inspiring a visit to a local pond habitat.?Susan Middleton, LaJolla Country Day School, CACopyright 1996 Reed Business Information, Inc.; Title: Chibi: A True Story from Japan | [
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15,496 | 12 | PreSchool-Grade 1-Fireman Small, the only firefighter (and seemingly the only human) "this side of the bay," has a never-ending job. As soon as he pulls into station number nine, walks upstairs, gets into bed, and pulls the covers over his head, the alarm sounds, and he is called off to rescue yet another hapless cat, or rabbit, or hippopotamus in his unusually diverse community. He may be exhausted, but he is also greatly appreciated by those he protects. Young children will enjoy the drama of this plucky firefighter's rescue missions and the coziness of his dollhouselike quarters. Brown-skinned Fireman Small and his faithful Dalmation make a charming pair, and this simple rhyming story is endearing.Anna DeWind, Milwaukee Public LibraryCopyright 1994 Reed Business Information, Inc.Ages 3-5. After a long night's work, Fireman Small "closes the curtains, gets in bed / And pulls the covers over his head." But a series of disasters keeps him from getting his sleep. First, Farmer Pig's cat becomes caught in a magnolia tree; then, Little Bunny falls down a well; and finally, there's a fire at the bakery. Each time something happens, Fireman Small saves the day. This short, simple story will delight children with its action, rhyme, and sprightly illustrations. Yee's colorful watercolors depict the animal inhabitants of the cozy town as warm, friendly, and concerned for one another's welfare, and an illustration of the inside of the firehouse is beautifully rendered to show all the little details on the fire truck. The charming, colorful little book will be a good means of introducing the fire fighting profession: it shows firefighters doing other things besides putting out blazes. That may be a big surprise for some children. Lauren Peterson; Title: Fireman Small | [
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15,497 | 1 | Although its conclusion may sit uneasily with guilt-phobic Americans, this Korean folktale is so beguilingly retold and visualized with such individuality that it deserves a wide audience. The ebullient, sensory-overload style of illustration Heo brought to One Afternoon is turned down several notches here, creating a busy, funny, yet delicate backdrop in oil and pencil. The story focuses on two frog brothers who always do the opposite of what their beleaguered mother asks?they even croak backward. Well aware of her sons' contrariness, the mother, dying and wishing to be buried on the sunny side of a hill, tells them, "Please bury me in the shade by the stream." Ironically, this time they obey and bury her by the stream. When it rains, they beg the stream not to wash their mother's grave away, "and ever since then, whenever, it rains, green frogs sit by streams and cry." This is a strong lesson in obedience, but deftly rendered with a light touch. Ages 4-7. Copyright 1996 Reed Business Information, Inc.Ages 5^-8. What begins as a cheerful tale of naughtiness based on a Korean folktale (no notes are included) ends with a rather startling surprise. Crisp, exaggerated, rather sophisticated artwork, somewhat reminiscent of Lane Smith's style, depicts a pair of ebullient, contrary frogs, who refuse even to croak correctly. Their long-suffering mother knows that the best way to get them to obey is to request the opposite of what she wants. A problem arises, however, when her sons decide, in deference to their mother's memory, to follow her deathbed instructions to the letter. The story seems somewhat unbalanced--funny at the start, almost gloomy at the close, notwithstanding the legacy the frog children leave behind: "in Korea, children who don't listen to their mother are called chung-gaeguri or green frogs." But the artwork is dynamic--from the initial, lively double-page spreads depicting the antics of the naughty duo to the subdued illustrations of the tearful brothers begging the stream not to wash their mother's grave away. Stephanie Zvirin; Title: The Green Frogs: A Korean Folktale | [
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15,498 | 0 | In her informative afterword to this sprightly retelling of a story from the Book of Numbers, two-time Newbery Medalist Paterson explains that the tale is notable in that it is one of two in the Bible that concerns a talking animal; and that, unlike most Old Testament entries, it is not told from the perspective of the Jews. The author keeps her fluid, narrative tone appealingly lighthearted as she relays the frustration of Balak, king of Moab, who calls on the soothsayer Balaam to lay a curse on Moses and the Israelites who, under his leadership, are seeking to cross Moab on their way out of Egypt. Seduced by the promised reward of riches, Balaam ignores an angel's command not to curse the Israelites "for the Lord has blessed them." But the greedy soothsayer soon recognizes the error of his ways. Rendered in watercolor, tempera and gouache, Koshkin's (illustrator of Stolen Thunder and Atlanta's Race) dramatic, vibrantly hued paintings feature an intriguing range of ancient symbols and motifs. Kids will be especially charmed by Balak's talking donkey, who emerges a hero while many of the human characters are decidedly asinine. Ages 6-10. Copyright 1996 Reed Business Information, Inc.Grade 3-6-The prophet Balaam, ordered by the King of Moab to curse the invading Israelites, is visited by an angel who warns him that the Lord has blessed those very people. Tempted by a rich reward, he sets out anyway on his faithful donkey, who unaccountably balks and bumps, causing the man to beat him. Finally the beast halts and speaks reproachfully. Thereupon Balaam sees again the angel, now with a flaming sword, who tells him to go on to Moab, but to speak God's words. Balaam then enrages the king by blessing the Israelites, as God inspires him to do. This faithful, graceful retelling is embellished with many equally graceful watercolor, tempera, and gouache paintings executed in a detailed and realistic manner. Winged lions, hawk-headed gods, hoofed fire-pots, and elaborate ornaments and dress exhibit Egyptian and Assyrian motifs. Rich colors and exotic settings emphasize the antiquity of the story (though Balaam's venality makes it timeless), while the androgynous angel, with wings, sandaled feet, halo, and sword, still meets conventional expectations. This beautiful book merits a place on Bible-story shelves.?Patricia (Dooley) Lothrop Green, St. George's School, Newport, RICopyright 1996 Reed Business Information, Inc.; Title: The Angel and the Donkey | [
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15,499 | 2 | Grade 3-5. When a boy named Hector joins Charles's class, Charles finds the new boy's dark skin and straight hair confusing. How can Hector speak Spanish, be Puerto Rican, and have the same skin color as Charles, who is African American? This confusion sparks discussion about shared heritage and language. When Charles decides he will teach Hector English, his parents remind him that his English isn't exactly perfect?in fact, it is most definitely original. This is where the title comes in. As their friendship grows, Charles protects Hector from being teased by giving him a pair of used but in-style sneakers, a true sign of friendship because, "In this neighborhood you got to have the right sneakers 'less you want to get laughed at." In return, he receives a not-so-stylish palm-tree shirt, but it's a gift he deems "very creative" and is proud to wear. Unfortunately, the tone is pedantic and the writing is wordy and stiff. Still, much of the story is right on target. This posthumous work displays a genuine understanding of a gently blossoming friendship between two boys, and children will encounter real-life issues and situations that many will recognize from personal experience. Lewis's watercolor illustrations are well executed and capture the boys' emotions at just the right moments. Not great but certainly worth noting.?Alicia Eames, Brooklyn Public LibraryCopyright 1997 Reed Business Information, Inc.Ages 4^-8. With realistic, light-filled watercolor illustrations of school and neighborhood, Lewis gives a contemporary urban setting to an unpublished story by the late author-illustrator Steptoe. Like Steptoe's great picture book Stevie (1969), this story is about getting to know and like an outsider. The story is more didactic here, but Lewis' relaxed, thoughtful pictures of individual people will draw children into a scenario they will want to talk about. Charles is surprised that Hector, the new boy in class from Puerto Rico, speaks Spanish. How can that be when Hector is as dark-skinned as Charles, and Charles speaks English? His teacher and his parents explain to him about the history of Puerto Rico, and he comes to see how he and Hector are connected and how everyone in the classroom "is the result of different people mixing up together." What's more, languages change and mix, and people can be "creative" when they speak and do things their own way. There is a slight story (Charles helps Hector when the boys at school tease Hector about his clothes), but what kids will want to talk about are the language and connection issues, which are as hot today as when Steptoe wrote this. Hazel Rochman; Title: Creativity | [
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