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Autumn Schaffer Reading Log 1 Reading Log 1: Traditional Literature, Poetry, and Modern Fantasy I. Traditional Literature: **Title: Why the Sky is Far Away: A Nigerian Folktale Publisher/Date of Publication Little Brown and Company (1974) Author Retold by Mary-Joan Gerson Illustrator Carla Golembe Genre Folktale/ Pourquoi Tale Format Picture Book Award New York Times Best Illustrated Children’s Book Award Reflection: a. Evaluation Criteria for Traditional Literature (pg. 212 of Norton Textbook) This story is a “pourquoi” tale and attempts to explain how the world came to be and how the rules of nature were established. This particular story attempts to explain how the sky formed and why it is far away from the ground. This story also helps students to understand the cultural beliefs and lifestyle of the African culture, particularly in Nigeria. It is also obvious that this is a fiction story created by the Bini tribe in their own attempts to explain the unexplainable because at that time scientific research was not available to detail on such phenomena. It does provide insight about how early narratives were formed and pasted along, which of course was by word of mouth. It also provides insight as to how stories circulated among civilizations, cultures, and in this case, tribes. An author’s note within the text explains the origin of the story and how it became a common tale within the Bini tribe in Africa. It also explained how the story spread from this

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Autumn Schaffer Reading Log 1

Reading Log 1: Traditional Literature, Poetry, and Modern Fantasy

I. Traditional Literature:

**Title: Why the Sky is Far Away: A Nigerian Folktale Publisher/Date of Publication Little Brown and Company (1974)Author Retold by Mary-Joan GersonIllustrator Carla GolembeGenre Folktale/ Pourquoi TaleFormat Picture BookAward New York Times Best Illustrated

Children’s Book Award

Reflection: a. Evaluation Criteria for Traditional Literature (pg. 212 of Norton Textbook)

This story is a “pourquoi” tale and attempts to explain how the world came to be and how the rules of nature were established. This particular story attempts to explain how the sky formed and why it is far away from the ground. This story also helps students to understand the cultural beliefs and lifestyle of the African culture, particularly in Nigeria. It is also obvious that this is a fiction story created by the Bini tribe in their own attempts to explain the unexplainable because at that time scientific research was not available to detail on such phenomena.

It does provide insight about how early narratives were formed and pasted along, which of course was by word of mouth. It also provides insight as to how stories circulated among civilizations, cultures, and in this case, tribes. An author’s note within the text explains the origin of the story and how it became a common tale within the Bini tribe in Africa. It also explained how the story spread from this specific African culture to another until it became known as a pourquoi tale. Now that scientific understandings prove that this is indeed a fictitious story, the literature provides detail of how this story remains a favorite to an audience who enjoys contemplating nature’s mysteries.

This particular tale is rich in African-based illustrations and artwork. The images themselves are devised based upon a combination of painting and printmaking using oil-based inks and etching. This allows the images to portray a black silhouette complement with a blend of bright watercolors. The boarders of the pages are also decorated with African-inspired designs and patterns. The context of the images is also inspired by the African culture. The garments, jewelry, and style of the African culture are depicted within these painted images.

The author’s note on the last page of the text provides insight to the Bini tribe, which is thought to be the source of this pourquoi tale. This note goes on to explain how and why the Bini tribe devised this tale as well as how it spread to other cultures. Other insight and characteristics of the Bini tribe, including their strong environmental beliefs

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and practices, are detailed within this special section of the book. The story itself provides other insight into the everyday culture and lifestyle of African tribes. The foods that they eat as well as the jobs that many have are included within this tale. Images of common fruits and vegetables, as well as images of people farming, are included within the tale. This lifestyle is factual in representing how many African tribes continue to live.

The text, itself, is written on about a third or fourth grade reading level. Engaging vocabulary some of which also provide insight into the African culture and dialect are included within the text. The uses of words and unique contexts are true to an ancient folktale. It is obvious that the individuals speak differently than students would be used to hearing. Also, some of the words themselves, including “Oba” which is the name for an African king, are included within the text. Specific definitions of these words are not provided, but the majority of students should be able to use the other words in the story to determine a generalized meaning and purpose of the term within the text.

One could certainly use this type of literature in either an African-based folktale series or in a pourquoi tale series. The illustrations within the story themselves could become a focus of expression as the students use similar methods of oil-based paints to create silhouette images. Also, the students could analyze various pourquoi tales from various cultures to try to understand by what means and theory they were devised. As a creative writing assignment, one could even have the students create their own pourquoi tale, in attempts to explain something that can’t be currently explained. For example, a modern topic for a pourquoi tale would be to explain why Pluto is no longer a planet.

Finally, the text and its illustrations also lead way to a dramatic portrayal of the story. The students could use the story as well as further research to create the various clothing and props related and detailed upon within the story. African tales are also the source of excellent plays seeing as they are rooted with a deep purpose and strong characters.

The characters within this story portray a range of honorable characteristics that are exemplified across various cultures. Deception, dishonor, envy, and selfishness are portrayed within the tale. One could even consider these to be the most intolerable traits within humanity. The tale, however, also portrays the utmost human traits including respect, trust, generosity, selflessness, and concern for others. Instead of being African-based traits, this porquoi tale targets universally accepted characteristics that are both honorable and dishonorable.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

The lines within the illustrations are bold, thick, and straight. The images themselves are depicted in a silhouette manner with some images being black and the other contrasting with bright watercolors. There is not extensive evidence of motion within the images. Instead, they appear to be still, almost like statues, pasting along the story from centuries ago.

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The most common colors within the illustrations are indeed warm colors, including red, yellow, and orange. According to Norton (2007) this depicts energy and friendliness (pg. 121). The other obvious color is blue, which is probably aimed at being a contrast and focus of the content of the story seeing as the plot involves the relationship between the sky and the humans.

While the African-based patterns are jagged and sharp, the overall presentation of the illustrations on a two-dimensional surface is rather smooth. This ensures a sense of peacefulness and unity among the characters within the book as well as the unity among generations as the story is pasted on. It would not be difficult for one to merely “picture read” the story through the paintings within the book. The figures are erect and provide obvious body language to express what their intentions and goals are for the scene. The while chalk used to draw the faces on the silhouette characters also provide an overview of the characters as well as they emotions and motives towards a particular situation. Overall the setting is fixed, while allows the reader to understand a sense of unity among the characters and tribe within the text.

The artistic style of this particular illustrator seems rather abstract, but not quite nonrepresentational. While the images, particularly the people within the story, are not as dimensional as a realistic image should be, the reader can still obviously understand the meaning of the scene based upon the illustrations. Perhaps the motive for this type of imaging is because of the time period it involves. This story is based upon oral tradition which has been repeated before the age of manual writing. In this sense, one could compare the illustrations to cave-like drawings that seek to convey a discrete message with sharp lines and intense motives. Also, in attempts to not overshadow the message of the story, which is essential in a pourquoi tale, perhaps the illustrator uses more simplistic and less detailed art, to complement the pure and simple meaning of the text itself.

Based upon my knowledge of African tribes, culture, and dress, the figures in the story convey the historical role such a subculture plays, especially when considering the folktale genre. While this dress and art may not be evident within all area of Africa today, it is certainly a part of the heritage still observed and practiced by many African tribes.

**Title: The Legend of the Lady Slipper: An Ojibwe TalePublisher/Date of Publication Houghton Mifflin Company (1999)Author Lisa Lunge-Larsen & Margi PreusIllustrator Andrea ArroyoGenre LegendFormat Picture BookAward None

Reflection: a. Evaluation Criteria for Traditional Literature (pg. 212 of Norton Textbook)

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This pourquoi tale provides insight to the Native American culture and spiritual belief system. It is determined early on within the story that the people within the book, which are indeed Native Americans, have a strong connection and respect for the environment and Mother Nature. This, or course, is true for the culture especially within the historical sense. Being a pourquoi tale the story also provides insight to how the Native American culture itself was formed and what it is based upon. One can understand through reading this tale that this particular culture depends on the answers to natural phenomena by evaluating nature, and not science.

While the majority of the text can be enjoyed simply based upon the narrative elements, the foreword provides insight as to how the tale affects other cultures and society. Being a pourquoi tale, this story attempts to explain the unexplainable, which in this case is how spring flowers are made. This story and many other Native American pourquoi tales have been pasted on through generations and even accepted into other cultures, not as facts, but as interesting stories of the past. The foreword itself explains how this tale became a legend and is pasted through Native American generations to explain the world and how it came to be.

This story specifically allows the reader to develop a strong understanding and appreciation of the Native American culture. The values of this certain group are displayed within the context of the story. A deep sense of family and trust, as well as a genuine concern for nature and the upkeep of one’s heritage are evident within this story. For example, within the plot of the story many of the Native Americans, even the main character’s family, become ill. Within the illustrations and text is it evident that the tribe unifies itself to aid one another during the time of unrest. Even the small child assumes the responsibility of a long journey, which could possibly cause her to become ill as well, in order to save her family. These values of consideration, motivation, destiny, and obligation to one’s tribe are all typical characteristics of the traditional Native American culture.

The Native American language as well as their particular usage of words in general is evidence within the context of the book. The characters within the story are given Native American names, such as “Little Flower.” They also incorporate personification from nature itself as the snow and wind speak to the girl through the toil of her journey. Specific words, such as “ma-ki-sin” or moccasin and other Native American words are also introduced and explained within the context of the book. For example, it is evident that the word “jii-ba-yag-nii-mi-wag” is representative for the northern stars that the young girl uses to guide her to the correct spot of land during the darkest part of night. Also, again with personification, the snow offers advice to the young girl by using the words, “nib-waa-kaan,” which is explained as “be wise!”

Like other pourquoi tales, this story prompts students to think about natural phenomena and how they have come to exist. This type of literature also asks them to question their heritage and believes about why things are the way that they are. Creative writing is always a factor when contemplating and explaining one’s surroundings. Since this particular tale is so ingrained with connections to nature, it would be interesting to

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view a drama depicting some of the Native American dress and viewpoints- which are sometimes rather contradictory to our modern characteristics.

Based upon the certain personifications of the characters within the story, the readers develop a sense of understanding, trust, and obligation to one’s own family. Maturity on the behalf of children as well as dedication to a family’s cause is also themes within the text. The young girl within the story is focused on saving her tribe from illness while risking her own health to travel over the unforgiving, yet interconnected, earth. This connection to nature and understanding of the unity between culture, family, and humanity are huge trends within the context of the story.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

The overall impression of the illustrations within the text can be described as clean, neat, and slightly whimsical. The images appear to be child-friendly, conveyed with fluid curves that welcome the reader into the motion of each scene. The color appears to be based upon pencil-like shading. The colors themselves, however, are bright, warm, and welcoming. Rich and light colors tend to be the trend within the text; dark and shadows are not as popular. Seeing as the majority of the images are located within nature, it seems that horizontal lines are apparent and add to the overall affect of the story. The characters themselves are drawn with round lines and curved shapes. The eyes of all of the characters are rounded, which provide a sense of honesty and calmness.

The scenes within the text are unified with the mystical nature of the story plot. Within the text it is obvious that the humans have a connection with nature, as nature aids the individual through their journey, providing wisdom and consideration on the far less powerful humans. The illustrations convey this sense of nurture and dedication on nature’s behalf. Like within the text of the story the illustration personifies elements of nature, including the wind, trees, and water within the tale. The author creatively adds the Native American words that nature provides within the text to aid the humans in the journey to the illustrations themselves. The words on top of the pictures add of the child-friendly images that mix reading with visual art. Also, for example, during the girl’s journey through the late night, the illustrations depict the wind as resembling dancing people leading the girl to her destination. In this sense, the illustrations support the Native American culture by bringing nature to life.

The characters, themselves, are much smaller in proportion to the overall scene within each illustration. This is probably another message from the author describing the humans as much less powerful as the overwhelming presence of nature. The humans, however, appear faithful and happy despite the illness surrounding them. They do not appear, based upon facial expressions and body language, to fear nature and what it might bring. The characters do, however, appear to have warmer expressions when surrounded by other members of the tribe. The reader can tell that these individuals share a common goal and purpose by the circular motions of their bodies and hands as they continuously embrace each other through out the course of the book.

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The patterns used to frame each page as well as the clothing of the characters seem to be historically relevant to the Native American culture. The people themselves display common characteristics of such tribes, being portrayed with long hair, tan skin, and dark eyes. Their dress is also symbolic of the culture, complex with patterns and earth tones. The detail of the nature is representative to the plains and flat grounds of earth that the Native Americans were known to live and grow from.

Perhaps the strongest purpose of the illustrations however is the easily predicted connection the humans within the tale have to nature. The climax of the story is evident as the young child, tiny in proportion to the rest of the snowy scene, is lead by people-like winds through the snow-covered land. This image in itself describes the entire purpose of the pourquoi tale, which is that nature’s purpose is to aid the humans that respect it and care for it.

**Title: The Wooden Horse of Troy Publisher/Date of Publication Westerham Press (1970)Author Juliet MoszleyIllustrator Juliet MoszleyGenre MythFormat Chapter Book Award None

Reflection: a. Evaluation Criteria for Traditional Literature (pg. 212 of Norton Textbook)

By reading this text the audience is exposed to the classical myth of the siege of the city of Troy by the clever Greeks and their Trojan Horse. This particular text is actually a modified version from the real tale of the Trojan Horse, which is typically devised for an older group of students with higher reading levels. The basic plot, however, remains the same. Like in the full version of the myth, this book, which is divided into chapters, is rich with ancient Greek culture and customs. It does explain how the two cultures collided with their beliefs and specifically where each came from. This is very important within the plot of the story so that the audience understands that the Greeks and Trojans were fierce competitors in seeking the highest rank of social status within the ancient world. While it does mention some of the aspects of the ancient Greek spiritual system of gods that affect the everyday lives of citizens, much of the background knowledge about these gods are left out of the text. This is beneficial; however, seeing as the text is targeted towards older elementary students who may not be able to conceptualize the entire polytheistic system of the ancient culture. While some of the traditional religious aspects of the culture are omitted, the Greek culture’s love for war was not. This text certainly details upon the battles between the Greek and Trojans, hinting that it was not among their first skirmishes. The reader can obviously tell that this element of the culture was certainly prevalent and commonplace within the ancient society. What is not obvious, however, is that fact that this tale is a myth, meaning it is not known whether or not the elements of the story plot are actually true. While Greek

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and Trojan cultures did exist, it is not evident that this is more like an exaggeration of there heritage.

The last chapter of the text hints that this version of the tale was probably derived from the Greeks, seeing as so much praise and glory is given to them. The Trojans, on the other hand, would have probably explained the situation from another viewpoint, perhaps describing the Greeks as behind deceptive and sneaky. To an adult this perspective is obvious; however, to a child this may not be such an obvious detail. In this sense, one could say, that the text itself may be written slightly above the range and understanding of an upper elementary student. The story itself is complex in nature, complete with various characters and details about unknown cultures. The full grasp of the tale may be more than many children can handle. The text also does not explicitly state how the myth is pasted from generation to generation. In its entirety, the book actually simply recalls the tale of the Trojan Horse and leaves it at that. Any assumptions about the cultures and the fact that this story is actually a myth engrained in the ancient Greek’s history would have to be based upon further explanation from an outside source.

Through this story the readers are given a complete understanding of how the ancient Greeks and Trojans typically operated. It is not evident whether or not the entire story is actually true, but it does provide insight to the readers how the ancient cultures depending on militaristic force instead of negotiation and peace between nations. In a sense, if the students are indeed able to understand the context of the story, they should be able to appreciate the difference in the ancient societies, which were based upon force, and their modern society, which deals more with negotiation. The art of the ancient cultures, particularly the dress and architecture is also evidence within the story. It is not necessarily explained specifically, but by simple observation one should be able to notice and appreciate the obvious different in ancient art verses modern design.

Much of the factual information about the Greek and ancient cultures is somewhat intermixed within the myth itself. Much of the information, in fact, could be bypassed as simply part of the story. In a sense, one is not really able to tell the difference between what is true and what is fiction within this tale. If taken as nonfiction, however, the reader should be able to derive the facts that this is an ancient tale about two cultures that were rather powerful but competed with one another. Their constant battles lead to massive deaths and upset within the lands. Other facts, such as the location of the setting of the story, are not as evident. This, however, would be a beneficial piece to the text seeing as many older elementary students may not understand the location of these ancient cultures or where the story was based.

The specific language of the Greek and ancient cultures is not explicit within the text. This is a modified version developed from higher level classical texts. This story does provide insight, however, on historical names of cities and characters evident throughout the classical texts of the ancient world. Students are bound to read these names again as they further investigate the Greek and Roman culture in higher grade levels.

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This story is of course an outlet for drama and creative writing. Many plays have been developed depicting the life and culture of ancient civilizations, especially the Greeks. In fact, many plays and creative works have been developed to depict the great Trojan War, which of course is also the basis for this book. While elementary students may not be able to covey the entire purpose and perspective of the situation as older students, it would certainly serve as a focal point in continuing to understand the culture and lifestyle of these ancient civilizations.

Unfortunately, this story does not convey a positive message on behalf of the character elements of the ancient societies of Greece and Troy. For the most part the citizens are portrayed as being devious, sneaky, selfish, vengeful, angry, and brutal toward their fellow counterparts. This, however, is a trend within these types of myths, which contain elements of adventure and multi-dimension, but usually rather tough and brutal characters.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

Since this book was published in 1970, many of the images seem rather archaic and out-dated when compared to the modern art of recently released texts. The colors used within the illustrations are rather obscure at times and do not seem to complement each other. The theme of the art is almost sketch-like; similar to what one would see a fashion designer use to sketch clothing on makes shift bodies. Even though this is a chapter book there is an illustration on almost every page of the text. The images do seem to coincide with what is occurring within the story plot, which may aid the readers in understanding the somewhat complex outline of the book. The majority of these illustrations include images of the main characters, which of course are people. These individuals are drawn with straight lines, usually short and light. The female’s clothing is depicted using straight, sharp, and gathered lines to develop some sense of motion and flow. The faces and bodies of the individual are erect, thin, and pointed. This could be interpreted to symbolize the rather rough, straightforward, and unforgiving personal characteristics of the culture.

All of the characters within the story are drawn in profile, or one-sided. This is similar to the traditional Egyptian drawings. The majority of the figures are orange or brown in color, which is true to the physical characteristics of individuals living in that certain area. Much like in Egyptian and early art, the illustrations within the book do not do a wonderful job of depicting motion. Even in the battle scenes it seems that the characters are frozen, much like in early cave drawings.

The text describing the story is rather straightforward, dry, and rather hostile at times. The illustration complements this as they are not warm, welcoming, or child-friendly. The characters seem ancient based upon their frozen images; they are also envisioned as being rather self-righteous, with over-zealous self-importance. The figures do not seem to engage with each other within the scenes. Instead, they appear to be silence, allowing only the hints of physical action take the lead. Little emotion is evident within any of the characters in any of the scenes. This coincides with the personalities of

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the ancient peoples, who prefer to all their actions to portray their thoughts, rather than their body language or casual interaction with one another.

Overall, despite the fact that many do not seem to be proportional, the character illustrations within the text seem to convey the culture of the ancient peoples. The dress and environment seem to depict ancient times, with minimal buildings and make-shift clothing. The valued individuals within the story seem to be adored with more elaborate jewelry and garnishes, however. The war shields and swords are also convey in a way that allows the reader to understand that such tools were important to this certain group of individuals.

**Title: Mexican Folk Tales Publisher/Date of Publication The University of Arizona (1993)Author Anthony John Campos (Editor)Illustrator Anthony John Campos (Editor)Genre Folk TalesFormat Chapter BookAward None

Reflection: a. Evaluation Criteria for Traditional Literature (pg. 212 of Norton Textbook)

In summary, this book is a compilation of thirty legends, myths, and folktales commonly told within the Mexican culture. Based upon the foreword, these are tales that have been retold within his as well as mother Hispanic families. Unlike many American folktales, which tend to be more secular in nature, the Mexican folktales are based upon more religious and moral-based stories. These tales are also more graphic and forthcoming in their intentions in swaying the audience. In a sense, many of these tales mimic that of religious sermons depicting that of good and evil as well as preaching on the avoidance of spiritual decay.

This is certainly not a book that would seem to be available in a public elementary school library. The cover of the book is rather plain, and one does not notice the underlying religious-based focus at first glance. The first selection within this anthology, however, is titled “Juan Fetches the Devil.” The short story itself is just as blunt and direct as the title details. In this story a young Mexican decides to fetch the devil, since his parents have teasing told him that his behavior would eventually cause this to occur. As an adult, this provides an indirect understanding of the parent’s viewpoint on the child’s morality. In this respect, many readers may find this selection a little too explicit and not appropriate for young children.

While the does provide some inside as to some cultural traditions of humanity, it is based upon a spiritual aspect. Unlike many other tales that are rooted in some form of realism, these tales are completely fictitious but based upon some of the traditional Mexican beliefs. The tales themselves are not meant to be interpreted as real or actually

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occurring. The point of this text is to ensure that the Mexican spiritual beliefs are pasted from generations through stories that indirectly explain the common values of the culture.

In the foreword of the text the author explains that he became familiar with these stories and traditional elements through a student within one of his college courses, who just happened to be of Mexican heritage. The student informed the educator of these types of stories that are common place within the Mexican tradition. Based upon this recall, the author recorded the information into what became the text. In this sense the author learners that like many folktales, these Mexican stories are pasted down by oral tradition. How these messages are actually formed is not a topic discussed within the text. Instead, the majority of the tale is based upon the context of the stories themselves, as well as the underlying context behind them.

Through the context of this book the reader is able to develop an image of how Mexican culture targets its religion and tales based upon the supernatural. It is obvious that such developments are taken seriously and are not indeed for mere fictitious storytelling. Instead of seeming to be based upon a fairytale approach, it is apparent that the Mexican culture focuses more on forewarnings and detailing upon moral reasoning. While the tales do not provide much insight into Mexico as a country, besides some of the names of the cities and Mexican words, the main focus of the tales are based upon the Mexican beliefs and cultures. This book, on the other hand, is full of Spanish words, proper and improper. At certain times, to an individual who is completely illiterate when considering the Spanish language, these terms can be confusing due to their abundant usage in the text without much explanation.

The presence of this storybook within a children’s library is questionable. Some of the stories are somewhat graphic and rather preachy when considering religion and moral values. It would not be indeed for re-production by students. Also, it would probably not be advised that students engage in such subject natures when writing in class.

The characters within this story depict a wide range of characteristics, including positive and negative traits. The stories, however, are designed to teach students that positive traits are rewarded while negative traits are punished. The characters that express deceit, anger, and sin are brutally and somewhat graphically punished within the story plots. This is designed to threaten and forewarn students to act the way they should, as their parents have taught them.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

Being a chapter book, the images in this anthology are rather small and do not contain color. They are usually present on the opening page of each of the individual stories. Located above the title, these images provide insight to the climax or main objective of the short story. For example, the first story, titled “Juan Fetches the Devil” depicts a man with tattered clothes falling from the sky with scratches on this arms and face. The image is only a few inches in height and length. It is drawn with a dark pen,

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almost sketch-like, but does not contain any colors. The man is proportional and is shown with rather clear facial expressions. Just like the text, however, many of these images are rather graphic and not intended for young audiences.

The cover of the book is rather engaging and provides insight to the details of what is to come in the book. The book itself is a bright red color and contains a black and white image of a Catholic-like priest on the shoulders of a male with horns. The priest is holding a three-prong pitch fork and has a cross necklace. The man with the horns is larger and is wearing a cape. A first glance one might not understand the true identity of these characters or what the author/illustrator is trying to provide insight to. After reading several of the sections, however, one can understand how this graphic illustration foreshadows the graphic nature of the book itself.

In general the images are dark and the figures contain sad or frightened expressions. This is understandable seeing as the text itself is rather dark and serious. Many of the characters in the illustrations appear to be upset or frightened, which also follows along with the deep moral context of the stories. While the images are obviously male or female, they do not seem to have a significant Hispanic look to them. Again, however, since this is a chapter book, illustrations are not as commonplace within the text.

**Title: Yeh-Shen: A Cinderella Story from China Publisher/Date of Publication Philomel Books (1982) CD-ROM (2005)Author Retold by Ai-Ling LouieIllustrator Ed YoungGenre FairytaleFormat Picture Book on CD-ROM (Teacher’s

Edition)Award *Boston Globe-Horn Book Award Winner

*ALA Notable Children’s Book*School Library Journal Best Book of the Year*IRA Children’s Choice*IRA Teacher’s Choice

Reflection: a. Evaluation Criteria for Traditional Literature (pg. 212 of Norton Textbook)

This story is similar to the traditional version of Cinderella, but is based in China and therefore follows eastern cultural elements. Being a fairytale, little information in this text provides insight to reality or traditions of humanity in any setting. Like in the American version, this story is based upon magic and folklore rooted in fiction. Much like in the traditional version, Yeh-Shen is about a young girl who is treated badly by her step-mother and later wins the love of a prince. Elements of the traditional and Chinese version remain the same, but specific parts of the story are different, which changes the

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entire context of some of the scenes within the story. For example, the magic within the Chinese version derives from the bones of a pet fish the evil step-mother killed. When Yeh-Shen loses one of the magic golden slippers at the ball, however, the fish bones no longer provide the magical powers. In attempt to regain the relationship with the fish bones, Yeh-Shen travels to a pavilion to reclaim the lost slipper. This is where the prince’s guards realize she is the woman at the ball and follow her home. Like in Cinderella, however, the slippers play a large role within the context of the book. The main character is tortured by her stepmother, who is jealous of her beauty. The main character discovers magical elements, however, that allow her to meet her prince charming only to abandon him for fear of being discovered by her stepmother. In the end, however the main character reunites with her prince as the evil stepmother is not so fortunate.

The foreword within this text does provide insight as to how the story was spread from country to country. It even suggests that the Chinese version was among one of the first Cinderella tales. According to the publishers, this version was derived from another book dated 618 A.D. This would suggest that it was published and created before the next oldest version, which comes from Italy in 1634. While it does not specifically provide detail as to how the tale was spread from country to country, the text suggests that perhaps the basic Cinderella tale began in the eastern countries and spread to the west.

In ways, however, it seems that some of the traditional elements of the Cinderella stories contain basic features of Chinese morality, culture, and tradition. For example, Yeh-Shen, and other Cinderella characters, is obedient to their guardians despite the mistreatment and lack of compassion on behalf of their parents. This ultimate respect is common in the Chinese culture. Also, the obedience level between Yeh-Shen and her stepmother is undeniably based upon the strict Chinese model among families. The mysticism involved in the story, including the talking fish bones, coincides with many of the traditional Chinese superstitions. In this sense, unbeknownst to many readers, Cinderella has exposed them to several elements of the Chinese culture that has remained rooted in the tale even as it was pasted from generation to generation, country to country.

Like many fairytales, this version does lend itself to dramatic plays and creative writing. Even this version could probably be recreated onstage, perhaps even with authentic Chinese music correlated with the scenes. Also, as before, other countries could easily incorporate their own unique characteristics into the basic story plot in order to develop their own unique Cinderella story. Even research on the various forms of these Cinderella stories would provide interesting aspects of how these various tales compare to one other, as well as what specific elements are similar and different. Perhaps this research could even indicate, once and for all, which country invented the very first genuine tale.

Yeh-Shen, like many of the other Cinderella stories establishes characters as innocent and pure as well as evil and jealous. These wide ranges of characteristics are evident within all versions of the tales and almost appear one-sided at times.

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Nevertheless, the perhaps over dramatized characteristics of the characters prove to establish a fairytale that is remembered within every culture.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)The illustrations within the storybook continue to reflect the ancient Chinese

culture. Painted with almost impressionistic strokes the images are blurry and faded. The characters are obviously of Chinese decent and are dressed according to common tradition within China. The images do not encompass the entire page, only a fraction. This is just enough to tell what is occurring within the text on that particular page. The images are frozen on the page and do not provide a sense of movement or freedom. The character’s facial expressions also seem frozen, as if regulated by the strict Chinese culture. One can, however, easily predict what is occurring within the text as he/she reads the story. The illustrations follow along with the text in this way.

Painted with watercolors and fat brushstrokes, the images within the story provide a sense of mystery and sensitivity to them. The characters seemed to be dressed in traditional Chinese clothing that would mimic that of early civilizations within the country. For example, many of the colors are based upon purples and blues, which seem to be common in the Chinese culture. They are also fully clothed and secure, as Chinese women usually are. Since, for the most part, the characters seem to be frozen with little facial expression, it is hard to determine who is depicting what character. In this sense it is not easy to predict each character’s personal characteristics by looking at the story. Instead, however one can tell what is occurring in each scene due to the carefully chosen illustrations used within the classical text.

II. Poetry:

**Title: Bubble Gum, Bubble Gum Publisher/Date of Publication Little Brown & Company (2004)Author Lisa WheelerIllustrator Laura Huliska-BeithGenre Lyric Poetry/Song (with rhyme)Format Picture BookAward 2009 Georgia Book Award Nominee

Reflection: a. Evaluation Criteria for Poetry (pg. 319 of Norton Textbook)

Bubble Gum, Bubble Gum is an amazing children’s book aimed at children ranging in the grades from pre-kindergarten to about third grade. Even fourth or fifth grade students would probably enjoy the text for its simplicity and humor, even though it may be slightly below their reading level. Perhaps this book is so appealing because it fits the majority of the criteria described by Norton (2007). This poem/song is certainly modern and unlike that of the somewhat archaic nursery rhymes. It is also based upon a simple, yet extremely humorous situation. For this reason it is easy for all students to

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understand the basic plot of the story despite their prior experiences or prior beliefs. The plot is also rather simple, which allows students of all ability levels to follow along.Some may choose to simply read the text, which contains rhymes and a decent amount of rhythm. Others may choose to sing the text, seeing as the lyrics fit perfectly within the “Lollipop, Lollipop” tune. There is a decent amount of reputation within the book, which allows for the readers to identify with the consistency of the plot. This is also a valuable asset to the story when considering repeated readings. Each scene and repetition is located on a separate page, however, to allow the reader to predict the outcome of the next situation.

The basic plot of the story is based upon a wad of bubble gum that has melted in the road. Personified animals venture into the road and step, and then proceed to get stuck, in the gum. After several characters are unable to release themselves from the gum, a truck comes by. In order to save themselves, since they are stuck in the middle of the road, the animals begin to chew the gum. They then, as in a hot air balloon, float above the truck in a huge bubble gum bubble. A huge bear bites the extra large bubble, however, and sends the sticky bubble gum everywhere. As luck would have it, the bear gets stuck in the gum. Finally, the story ends with a new animal crossing the road near the gum. The students are left to predict that this animal also gets stuck in the gum and the story repeats itself.

As each animal is introduced into the plot, a short part of the poem describes his/her personality. For example, a shrew is described as “Along comes a shrew, a bad mood shrew, a bad mood how rude, tough dude shrew.” The text used within the book also adds to the differentiation when reading the poem. Certain accented or stressed portions of the poem are written in larger letters, which allows the reader to know when it is time to pronounce more. There is certainly a play on words as parts of the poem are repeated while parts rhyme. As soon as one character becomes stuck within the gum, the poem returns to describing the bubble gum by saying, “Bubble gum, Bubble gum, icky-sticky bubble gum...”

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

The illustrations within this text seem to fit the carefree, whimsical, bouncy, and humorous themes within the text. The illustrations themselves seem to be made by paints, but are well defined and articulate. Unlike many other paint-based illustrations, these images contain precise dimensions and depth. They also fill the entire page, including the outside edges. This maximizes the use of the page and continues to engage the reader with subtle additions added to the background that intensify the story plot. The illustrator also uses some shading within the paints to provide a sense of movement and action among the characters.

The characters themselves are personified as humans, complete with clothing and facial expressions. The illustrator does a wonderful job of defining the particular animal’s attitude with their movement and expression. The majority of these characters are pained using curved lines and light strokes. This complements the light-hearted nature of the text

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in general. The details, however, within the illustrations add an extra effect to the book in general. For example, many would not notice that the frog is sticking out his tongue as he attempts to pull his foot away from the gum on the pavement. This is certainly something a human may do as it depicts his frustration with the situation. These illustrations also allow the reader to predict what the next segment of the poem will be about as the character’s image appears on the page before he/she is added into the poem.

**Title: Hooray for Diffendoofer Day!Publisher/Date of Publication Scholastic Inc. (1998)Author Dr. Seuss, Jack Prelutsky, & Lane SmithIllustrator Dr. Seuss, Jack Prelutsky, & Lane Smith

(design by Molly Leach)Genre Narrative PoetryFormat Picture BookAward *Dr. Seuss’ last project

Reflection: a. Evaluation Criteria for Poetry (pg. 319 of Norton Textbook)

Written in an abab or abcb rhyming format, this story is among one of Dr. Seuss’ last projects. There is even a special section near the close of the text that provides information of how Dr. Seuss developed the plot and begun writing some of the text and illustrations. It also includes information as to how the co-authors discovered it and finished the story based upon Dr. Seuss’ lead and wishes. Since this is one of Dr. Seuss’ last stories, it is obviously popular. Also, the theme and context of the story is appealing to students seeing as it is based upon an unusual school setting. Much like all of Dr. Seuss’ books, however, this text is popular simply because of the creative and catchy wording as well as unusual, never-seen-before characters. Dr. Seuss’ zany ideas are always appealing to young readers simply because they allow for an escape out of the ordinary and into a world where predictions are difficult to make.

Like many of his other stories, this is a narrative poem seeing as it is written completely in rhyme, but also tells a complete story from beginning to end. The narrator of the story appears to be a student of the Diffendoofer School, even know we as readers never actually meet or are introduced to this specific character. For the majority of the plot this student describes his school, and how it is different than most other schools. He explains its location as well as its unique teachers. This, of course, is completed in traditional Dr. Seuss style with unusual names and activities. Ironically, however, students are able to predict the subject area taught by the teachers based upon their names. Other employee’s jobs are also predictable. “Miss Clotte” is the school nurse and “McMunch” is the name of the cooks, “Mr. Plunger” is the custodian. These characters are carefree and excited about learning things that students are interested in. This is usually appealing to students seeing as the subject areas or so different than what is traditionally taught in schools. On the other hand, “Mr. Lowe” is the schools’ principal; he is also an intense worrier. He, like many other principals and teachers in modern schools, are worried about test scores and making a certain grade. The school, like in

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reality, is compared to other schools, of which are much more systematic and structured. The students, however, do not enjoy these schools nearly as much because they do not provide opportunities for engaging learning and fun activities. As the story draws to a close, all of the students within the schools are asked to take a test to see which school is educating the students the best. The Diffendoofer School, which is the most engaging, is of course the winner.

Perhaps this book is so appealing to students because it is based upon contemporary poetry with fresh, funny, and easy-to-read words. One of Dr. Seuss’ strong points as an author is that he always chooses words and rhymes to aid students in their own reading attempts. While this book is a bit more advanced that Green Eggs and Ham and Cat in the Hat an average third or fourth grade student should not have trouble reading this book. The theme and setting of this story is easily relatable to the students, many of who have had similar enjoyable experiences within school. Many of them, however, have also experienced the pressure and dishearten of having to take test and be judged based upon their abilities. This is an area the students can more than likely identify with. On the other hand, however, the students can certainly not identity with many of the characters within the book, which are completely fictitious and outlandish. Due to this, however, students usually find the books appealing because it allows them to escape their everyday lives. The plot within this text is actually rather simple and easy for all students to understand. The rhymes are also easily read by students and even allow for some predictions based upon the simple rimes included within each structured poem format.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

If anything is more whimsical and imaginative then Dr. Seuss’ text are his coinciding illustrations. This text is no exception. Since the text is somewhat of a mixture of Dr. Seuss’ original ideas about the story as well as how the co-authors completed it, the illustrations actually reflect two different sets of images. In some pages, one can tell the differences between which illustrations were completed by Dr. Seuss, which are similar to his other stories, and which are drawn by the other authors of the story. Due to the various illustrators, the images contain a variety of styles. Some are more primitively sketch-based with pencil-like color added. Some seemed to be drawn with much more detail, including short textured lines and curved lines. The newer images seem to be somewhat three-dimensional and created with even more detail. These illustrations, while different, seem to complement each other, as the new images seem to remember or recall the older images made by Dr. Seuss. In a sense, perhaps this is the co-author’s way of dedicating and commemorating Dr. Seuss’ work.

The images within the text help the student’s predict what is occurring in the story as well as the intentions of the story and characters. The illustrations continuously complement the text and help in developing the characters. In contrast, however, these are not realistic characters that provide any type of specific cultural or language diversity. One specific purpose of Dr. Seuss’ characters, text, and illustrations is their unique yet relatable descriptions. While no one in particular can identify with the background or

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characteristics of the text, yet this provides more opportunities for the readers to identify with the characters without having to look at their skin, hair, or eye color. Their geographical details are completely fiction, which actually allows the students to identify more with the character’s personality, interests, and internal characteristics.

**Title: Little Bunny Foo FooPublisher/Date of Publication Scholastic, Inc. (2004)Author “The Good Fairy”Illustrator Paul Brett JohnsonGenre Narrative/ Lyric Poetry (Song)/ Nursery

RhymeFormat Picture Book on CD-ROMAward None

Reflection: a. Evaluation Criteria for Poetry (pg. 319 of Norton Textbook)

This certain text is actually derived from a simple song sung among students for generations. The majority of the text is indeed just the song within the form of a story. There are few other lines included within the story that add to the plot line but are not normally included within the traditional song. This tale is highly imaginative and based upon talking animals and fairies. It is based upon a main character, a talking rabbit, named “Little Bunny Foo Foo.” He is a mischievous, but not necessarily evil rabbit. He enjoyed playing tricks on the other animals within the forest, but not actually harming them. The “Good Fairy,” who assumes the role of a leader or advisor of the forest attempts to keep the forest a peaceful, safe place. The story is told by the “Good Fairy” herself. She describes the main character as not being a “bad bunny” but just full of mischief and wanted to have some fun. The rest of the story is based upon the traditional song or lyric sung as well as known by many of the children. Unlike the common poem, however, this story does expand “Little Bunny Foo Foo’s” victims. The poem explains that the main characters only target was field mice. The text expands this group to chipmunks, foxes, and even bears.

The text is highly repetitive and does contain a few rhymes. The stanzas are quite short, which makes it easy for young students to remember. This tale, as well as the song, is intended for younger audiences, about second grade and below. It has also been commonly used for motor skills development as students follow along with the reading by producing hand gestures to correlate with the text. The structure of the words do not necessarily introduce any new vocabulary, but do play on words such as “scooping’” and “bopping’.” While this particular poem is not contemporary, seeing as it has actually existed by oral tradition for decades, the story provides fresh images and presentation for newer generations. Perhaps one of the most appealing features of the story is that it provides adequate, but not cruel, action. Also, all students can become easily involved seeing as culture, appearance, or ethnical background is not an issue with these personified animals. The action of “bopping’” animals on their heads is rather humorous to most students, especially when they are given the opportunity to engage in innocent

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movements along with the song. The imagery within the text is also rather concrete, seeing as students of this age are use to watching cartoon characters interact with one another. In summary, the poem itself is rather straightforward and silly, which allows the students to understand the text as well as find simple pleasure in reading and interacting with it.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

The illustrations within this text are what seem to aid it in completing with modern texts. The story plot and poem itself is actually rather old, but the cartoon-like, three-dimension based drawings allow readers to re-identify with the tale. These illustrations cover the entire page, from corner to corner. The colors are rich and deep. It appears that the illustrations have been painted and well covered. The backgrounds, which commonly are the forest, are darker colors, while the characters are representative with brighter pastels, including yellows, purples, and blues. The characters, which are animals, are certainly personified and contain realistic facial expressions and body language. This aids in developing the story as somewhat of a prediction tale. Certain pages within the story, between repetitions of the main poem, are complete illustrations with the words, “What do you think he did?” on them. This, of course, is a complete prediction element in which the students are to predict whether or not Little Bunny Foo Foo took the Good Fairy’s advice and calmed down or if he continued with this mischievous ways. Based upon the image, however, the students can certainly tell that he was actually planning to increase his terror on the forest animals. Students can also draw conclusions about the story based upon the illustrations that are not actually explained within the story. For example, the main character attacks the first victims, the field mice, with mud pies in a wagon. He increases the amount however as he uses a four-wheeler to attack the chipmunks with larger mud pies. He uses a tractor to attack the foxes and then actually uses a backhoe to attack the bears. This increase is something that is only noticed through the illustrations. Also, one can tell, based upon the illustrations that the main character is sneaky and appears apologetic only when the fairy is scolding him. Secretly, however, he laughs as soon as she leaves. Also, one can tell that the victims of the attacks are happy when Little Bunny Foo Foo is being scolded for his ways. They are commonly depicted with their arms in the air pretending to scold him as well.

The story as well as the illustrations does not provide much evidence or bias towards a particular culture, ethnicity, or even group of humans in general. The setting is in the forest somewhere with make-believe animals. Being fairytale based, all students are able to enjoy and connect with the devious Little Bunny Foo Foo, the protective Good Fairy, and the outranged citizens of the forest.

**Title: I Ain’t Gonna Paint No MorePublisher/Date of Publication Harcourt (2005)Author Karen BeaumontIllustrator David CatrowGenre Narrative/ Lyric Poetry

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Format Picture BookAward 2010 Georgia Book Award Nominee

Reflection: a. Evaluation Criteria for Poetry (pg. 319 of Norton Textbook)

While this book does not contain large amounts of text, nor is the text abstract or filled with imagery, I Ain’t Gonna Paint No More is certainly an engaging book, especially for children. The narrator of the story is a little girl/boy; it is never obvious which he/she is, about the age of four. At the beginning of the tale the child finds a huge variety of paints and is simply amazed. He/she decides to paint on the walls, the furniture, the ceiling, and the floor. When his/her mother discovers it she announces, “You ain’t gonna paint no more no more; you ain’t gonna paint no more!” This somewhat provokes the already rambunctious child to continue to paint, but this time on himself. He protests that he simply cannot himself and decided to paint a part of his body, including his hand, arm, head, chest, or leg. By the end of the tale he/she is covered with paint from head to toe, but is certainly a happy child.

The poem itself is also rather simple and could be easily read by elementary students. A large sense of rhyme is present within the poem so much that it can almost be sung by students. If so, the tune sounds similar to “The Green Grass Grows All Around.” Since the tune and rhyme is easily recognized by students, they usually enjoy singing along, at least during the repeated part that states “And I ain’t gonna paint no more, no more, and I ain’t gonna paint no more.” They rhymes themselves encourage wordplay among the readers as the last word of the first stanza rhymes with the body part that the little girl/boy has recently painted. This allows for increased student participation and engagement as he/she is able to guess the part the main character has colored next. For example, one stanza may read, “It ain’t no harm to paint my arm” or “I can’t stand not to paint my hand.” The first part of the line will be located on one page and the image of the painted appendage will be located on the next page with the rest of the line.

The more appealing part of this book is of course the humor it evokes in children. Most children can identify with the tale seeing as, as children, they have probably painted or colored on some part of their house or classroom that they indeed were not suppose to do. The way the narrator expresses his adventure, through simple yet energetic rhyme is funny and appealing seeing as many of these contain such high spirits themselves. This is certainly a contemporary poem that is easily understood by the readers due to the familiar context and setting. Many parts of the text itself is repeated within the book, include the “I ain’t gonna paint no more.” Students seem to enjoy repeating and reading aloud this rhyme when it comes about. Seeing as young students enjoy repetition and predication stories, they do not seem to mind rereading the tale and trying to predict what body part will be painted next.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

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The art within this text are perhaps just as whimsical and child-like as the text. The images are drawn with a mixture of curved and straight lines, but are sketched and continue several strokes. The images themselves are black and white; the only color within the book is the images where the child has painted something. These painted images are full of bright, pastel, and blended watercolors. These strokes, unlike the others, are wide smooth and horizontal. The other black and white strokes appear to be more thin, rough, and vertical. This addition of color certainly adds an effect as the child adds “color” to his life by painting everything he sees. When he is reprimanded for it, he begins to transform his own body with such paint.

The text itself also contains an element of art within it. The typed words reflect a child’s handwriting, with curved and incorrectly formed letters. The words “Ain’t gonna paint no more” are always much larger and thicker than the other words within the tale. From this text and the layout of the book itself, one can easily predict that will occur next within the plot. Of course the reader can use the rhyming words to predict what body part will be pointed next, but the reader can also use the images. Before the body part is reveled the sketches appear to show the child painted his body. On the next page watercolor has splattered over the entire page and the body part that was chosen is covered in color.

This is certainly a modern book that children can easily identify with. Based upon the clothes and the house arrangement, one can predict that this is certainly a 21st century family. Since the images are in black and white, however, one cannot tell too much about the culture or ethnicity of the family. This is beneficial since all students can hopefully identify with the child and his mischief.

**Title: Are You Quite Polite?Publisher/Date of Publication Scholastic (2006)Author Alan KatzIllustrator David CatrowGenre Poetry (Lyric/Songs)Format Picture Book (on CD-ROM)Award Grand Canyon Reader Award Nominee

Reflection: a. Evaluation Criteria for Poetry (pg. 319 of Norton Textbook)

This text is unique seeing as it is actually complied of story songs composed by the author. Sometimes referred to as “piggy back” songs, they take the tune of a common nursery rhyme but have different lyrics. The lyrics to these short songs are based upon expressing good manners. Each song provides a different rhyme and rhythm scene seeing as each is based upon a different song. The name of the original song, however, is included within the title so that the reader will know what tune to use.

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These songs are probably best suited for grade levels pre-kindergarten to first grade, which is when they would be learning the basic manner and rules anyway. The lyrics are certainly original seeing as the author is the one who created them. It is written in child-friendly terms that most students could identify with, read, or at least understand. Perhaps the most appealing aspect of the story, however, is that it is funny and humorous for the students. Instead of taking a preachy approach to the situation, the author decides to describe how funny and gross situations become when they do not follow their basic manners. Part of the reason why these situations are so humorous, however, is because they are indeed based upon real events that have actually occurred to and with some of the students in the classroom. Since they are able to identify with the situations the characters find themselves in, many of the students will find the situation as being funny.

Since these poems actually take the form of songs, they are of course designed for repeated reads and sing along. The lyrics to the particular songs may not be so easily remembered by very young students, but it could be arranged for such to be posted somewhere in the classroom. Some of the particularly identifiable and humorous songs include, “Don’t Chew Gum in the Classroom” sung to the tune of “Take me Out the Ballgame” and “Are You Quite Polite” sung to the tune of “Do Your Ears Hang Low.” Like poems, the text is written in stanzas so that the teachers or students are able to determine the rhythm as well what part goes with each verse.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

Similar to Catrow’s other books, his water colored, sketched, and whimsical illustrations add to the humor of the songbook. Each song is located on a two page spread and is accompanied by a particularly humorous scene that certainly complements the point of the song. For example, “Drinkin’ at the Fountain” is portrayed with images of a boy drinking from a water fountain in the shape of a toilet, which has been water colored with green and brown stains. The rest of the scene includes a girl peering pass the lockers with a horrified look on her face. This entire illustration complements the lyrics of the particular song, which describes how horrible it is to put your mouth on the water fountain when drinking.

All of the images are compelled with particular similarities, which include curved lines made with watercolor paints and colored pencils. The images are outlined in black but are usually not drawn to scale. These images, like the songs in the book, are not intended to be realistic. Instead they are used to refresh the topic as well as provide modern insight to it. By reading the title of the song as well as reading looking at the image created by the illustrator, one can certainly determine what will occur within the song lyrics. The illustrations do not provide any type of historical evidence about them, but do appear to be modern and young, and perhaps a little mischievous, as many students within classrooms. Many of the images appear to have movement among the students, whose clothing, hair, and faces are not fresh and clean, like many students in reality. Due to these images of how the characters, who actually remain nameless, are portrayed, as well as how the lyrics describe them, readers should be able to identify with some of the habits that occur within the book. If they cannot, however, they should

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certainly find humor in the songs as well as the accompanying images that were designed to be lively and humorous for students of all ages.

III. Modern Fantasy:

**Title: Matthew’s DragonPublisher/Date of Publication Margaret K. McElderry Books (1991)Author Susan CooperIllustrator Jos. A. SmithGenre Modern Fantasy (Mythical Quests)Format Picture BookAward Georgia Book Award Nominee (1992-

1993)

Reflection: a. Evaluation Criteria for Modern Fantasy (pg. 275 of Norton Textbook)

Matthew’s Dragon is a tale intended for young audiences, within the grades from about second to fifth. The plot is basic and rooted in traditional modern fantasy, including a dragon with supernatural abilities. Coming to life out of a storybook, the dragon magically appears in Matthew’s room after the boy has been tucked in. Matthew and the dragon agree that they cannot sleep, so they decide to go on an adventure. Matthew and the dragon obviously shrink and escape thorough the bedroom window. They eat tomatoes from the garden, which are obviously larger than the two characters. They also have a confrontation with the stray cat in the neighborhood, which is a giant compared to the two characters. Magically, however, the dragon grows larger than the entire house and is able to save Matthew. The two then proceeded in taking a joy ride across the sky with the other dragons Matthew has read about in his storybooks. Finally, Matthew and the dragon decide they are tried enough to go to sleep now, so they fly back home. Matthew curls up in his bed and the dragon quietly puts himself back between the covers of the storybook.

The author of this text includes all the elements needed to suspend any disbelief about the fantasy characteristics of the story. The setting of the story is actually in the natural, realistic world. The action of the story takes place in Matthew’s bedroom and yard. The fantasy elements are only added into the realistic situation. The characters remain normal so that the fantasy elements are accepted into the plot. For example, Matthew remains calm when the dragon appears in his room and is only frightened of the cat, who he has known to be hateful and mean to the other animals within the neighborhood. Matthew is also accepting of the other dragons within the plot seeing as he recalls reading about them in other storybooks. While they are huge in size comparison, he uses his knowledge of their calm personalities from his other storybooks to find peace with them. The dragon is also child-like and seems to think on the same level as Matthew. They agree on several ideas, which allow the reader to believe that their personalities must be similar. The dragon also saves Matthew from the enraged cat, which allows the reader to understand the sense of companionship among the two.

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Within a scene of the story the father, who does not realize any fantasy elements are present within the house, peeks outside of the house to hush the screaming cat. He does not notice that Matthew and the dragon, who are by this point larger than the rest of the house, are just around the corner. This allows the readers to understand that then fantasy is just among the children and dragon within the story and is somewhat secretive.

The narrator in the story is from an outside context; the story is told in a third person point of view. He provides information about the realistic side of the text, which includes scenes in which Matthew is tucked into bed by his parents and eventually falls asleep. The narrator also provides information about the fantasy elements, which include the dragon and other adventures. The tone or pace of the story does not change whether or not he is recalling realistic elements or fantasy elements. This aids in the believability of the story seeing as one side is not given more attention or bias in any way. This story is certainly a mythical quest as the two companions take an adventure from the realistic world to the fantasy-based world. The main theme within the story is rather simple and is based upon love and friendship. The boy and the dragon have become acquainted through the storybooks but now are able to actually travel together in adventures. They also take care of each other the way friends would. Matthew shows the dragon where food is available and the dragon saves Matthew from the enraged cat. Little sections of the story also allow the students to understand the caring relationship between the two beings. For example, Matthew did not want to hurt the dragon’s feelings by saying that he did not like to eat tomatoes, so the boy ate one anyway. Also, the dragon did not want Matthew to hit his head when flying out of the window so he asked Matthew to get off of his back for a moment.

Overall the theme and characterization within the text is relatable and worthwhile to the reader. The setting itself is relatable to the audience seeing as the realistic component is told in the aspect of the children’s real world. This contemporary setting allows the students to believe that Matthew really did read storybooks about dragons before he went to bed. Due to the development and temperament of the dragon himself, the readers allow were able to believe that the dragon, who had come to life, could engage happily with Matthew, who had already become his friend through the books.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

The illustrations within the text are filled with a contrast of color and darkness that allows the reader to predict the fantasy elements verse the realistically setting within the story. For example, the dragon is depicted with a dark green body but white cracks between his scales that immediately become the center focus of the page. His wings are a brighter green and are almost perfectly horizontal within the illustrations. The scales on the top of his head create a mane-like curved line down the rest of his body. These scales are bright yellowish-orange and are similar to a crown-like structure. The dragon’s eyes are bright red and his teeth are certainly pointy. At first glance he appears to be rather frightening, especially in the scenes where his back scales seem to glow. One can easily picture read, however, and realize through his interaction with the boy as well as his facial expressions, that the dragon is indeed not a scary character.

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The fantasy elements within the story seem to be the most brightly colored and clear, while the realistic images seem to be based upon darker tones and are usually faded into the background. For example, whenever the dragon is present within the scene, the boy as well as the bedroom features are slightly more blurry and dull. Even the boy himself has dark hair, darker skin, and is wearing bland, pale colors. The illustrations themselves are depicted with well blended painted strokes so that they appear to be almost three-dimensional. The dragon projects the most movement among the characters in the story as he commonly turns his long curved neck and opens his wings.

Facial expressions play a large role in the context of this story seeing as the dragon appears fierce on the outside but is actually a rather protective and loving creature. While his red eyes remain intense through out the entire story, his facial expressions show senses of understanding, confusion, determination, protection, curiosity, and contentment. The young boy’s facial expressions also contain many of these emotions. Such feelings are certainly things all children can identify with.

**Title: Magic Tree House #7: Sunset of the SabertoothPublisher/Date of Publication Random House (1996)Author Mary Pope OsborneIllustrator Sal MurdoccaGenre Modern Fantasy (Mythical Quests, Time

Warps)Format Chapter BookAward None

Reflection: a. Evaluation Criteria for Modern Fantasy (pg. 275 of Norton Textbook)

This is but one of the many modern, and even historical fantasy, included in the Magic Tree House Series. Like all of these books, the two siblings travel somewhere through their magic tree house time warp. As they arrive at the location they discover a book that provides them with information about where they are, what the culture is like there, how they are to survive, and what they are looking for. When they discover what the book describes, they are able to return to the time warp tree house and return home. In this case the two siblings had been swimming and visited the tree house. Finding an image of a snowy day, the little girl wishes she could visit there. This activates the tree house and the two children find themselves in the ancient ice age. They also find the book describing the lifestyle of those that lived during such times. It described what they wore, what they ate, where they lived, as well as other elements of the ice age itself. The children soon discover these individuals, called Cro-Magnons, as well as other characters including wooly mammoths and a sabertooth tiger. With the help of a Cro-Magnon sorcerer, the children are able to find a wooly mammoth and locate some ancient wooly mammoth bones, which is the main objective of the quest. The children were then able to return home to their realistic life in Pennsylvania.

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The author is able to suspend any disbelief about the tale by having the two main characters remain calm and act in a way that children would to such adventures. Seeing as these children go on these adventures all the time, it is not scary or frightening for them. Also, since they have engaged in these adventures before, they know exactly what they should be looking for as well as how they should go about finding and completing the task. By not being completely thrown off by their new surroundings and staying true to their mission, the characters are believable and almost heightened to the realm of having superhero qualities. Also, as the settings change, the author makes sure to remain consistent in the surroundings as well as true to the facts surrounding those settings. The story begins in a realistic zone, modern day Pennsylvania, during the summer time. The children are wearing their swimming suits and wish that they were somewhere cooler. As the magic trees house transcends through time, they land near a cave, which turns out to be the home of hibernating bears. They also see the Cro-Magnons in the distant, ready to hunt. When the tree house returns back to reality, it appears that time has frozen during the adventure and the children leave the house to return home for supper. This clean break from reality and supernatural aids the students in understanding exactly what is real and what is not. Also, seeing as many of the elements within this story are actually based upon facts, including the ice age animals, the audience is able to gain new academic-based understandings. The characters in the story, including the mammoths, Cro-Magnons, and the sabbertooth tigers, are believable because the author allows the children to investigate factual knowledge about them in their textbook. The children read fact-like passages about the setting, which are actually true, to help them better understand their situation. This aids the plot in being more believable in the sense that they are able to see how the children learn and adapt to their surroundings.

Like the other Magic Tree House stories, the author manages to combine facts with adventure along with supernatural elements. This makes the text worthwhile in the sense of being educational as it evokes the imagination. The author is able to provide basic knowledge of the certain time period while also allowing the readers to understand how that information correlates into a real-life, emotional reaction to the different time period and lifestyle.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

Being a chapter book, the illustrations within the text are not as evident, but are certainly worthwhile in enhancing the story plot as well as the imaginations of the readers. The cover of the book is the only image detailed in color. It depicts a larger-than-life sabertooth tiger peering down at two frightened, yet driven children. These children are dressed in cavemen-like clothing, but appear to look similar to modern kids. For example, the girl is wearing her hair in a ponytail and the boy is wearing glasses. This certainly helps the students relate to them. The sabertooth, however, is much larger and frightening. His eyes are glowing yellow and are fixed on the two children. The snow falling from above provides a sense of urgency and chill to the book. The title is colored with tones that start with orange and red and eventually fade to white. This may foreshadow the freezing temperatures the children will meet within their adventures.

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The location of the images within the chapters do not necessarily allow for foreshadowing to occur within the reading. Instead, it provides more of a complementary visual after the students have read about a certain scene or action occurring within the plot. For example, the image of the children opening the magical book that evokes the actual adventure occurs after the scene as already taken place within the text. These images are also not colored, but are simply depicted in black and white. Some are full page, yet most of the images are located on the top or bottom half of the page along with other text.

The images themselves are realistic and seem to provide insight as to what is actually occurring within the plot of the story. A heavy amount of shading is included within the images, which perhaps makes up for the lack of color. While it is obvious the illustrations have been drawn and shaded with pencil, they do not appear sketchy or unfinished. In fact, the lines themselves are solid and vary in thickness. Much like within the text, the images are historically accurate as the children use their textbook to understand the different elements of the time period. The images reflect what the students learn within their adventure considering the appropriate clothing, various types of animals, and even how they should behave in order to survive in such an unusual location.

**Title: JumanjiPublisher/Date of Publication Houghton Mifflin Company (1981)Author Chris Van AllsburgIllustrator Chris Van AllsburgGenre Modern Fantasy (Mythical Quests)Format Picture BookAward National Book Award (1996)

Caldecott Medal

Reflection: a. Evaluation Criteria for Modern Fantasy (pg. 275 of Norton Textbook)

Perhaps one of the most unique elements of this tale is the fact that it so naturally integrates the supernatural and fantasy with the realism of everyday life. The book begins as two children are asks to entertain themselves for the afternoon. After realizing that the common activities would not do, the children venture outside where they find a mysterious board game. After taking it back home and reading the instructions the children are not really impressed by what the game. Deciding to give it a try anyway, the children begin by rolling the dice. During the boy’s first turn a huge lion appears in the room. The children are alarmed by this but remember the directions of the game that insist that one must finish the game. The children interpret that if they do not finish the game, the lion will stay in the house. The siblings continue on as monkeys, mosquitoes, and rhinos appear with each turn. Near the end of the game, however, one of the children evolves a volcano explosion. Judy, one of the siblings, manages to win the game before it explodes, however. As she wins all of the fantasy elements within the story disappear and the setting returns to normal. The children soon fall asleep on the sofa for their parents to

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find them, not knowing anything out of the ordinary had ever occurred. The story ends as two boys from the neighborhood are seen carrying the board game home.

This story completely takes place within the realistic realm. The supernatural or fantasy elements are only added into the context as the story progresses. The setting of the house remains the same and untouched even thought wild animals are constantly appearing within it. The children, however, remain almost unnaturally calm during the entire situation. While they were surprised that the lion appeared at the beginning of the text, they seemed to be able to ignore the obscurity of it and remain focused to finish the game. This, if anything, might be considered slightly unbelievable seeing as children may become slightly more upset and confused if this occurred within their real life. The narrator is a third person but the majority of the text is in dialogue for between the two siblings.

The theme of this text seems to be based upon personal or social responsibility to finish the game and return the situation to normal One would not consider the animals appearing the story to be evil, or did they contain any type of personified elements. These animals did not speak, act, or interact with humans. Instead, they simply appear out of nowhere, within the context of the story. This is what the main fantasy element of the story was.

While this story lacks any major moral or deep-rooted thought, it is worthwhile to students simply because it is enjoyable and mystical. The book itself is rather short but allows the students to creatively use their imagination to engage and relate everyday items, like a board game, to the fantasy world.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

Having won a Caldecott Medal for its illustrations, the images within this book obvious add to the overall context and value of the story plot. Uniquely, however, the images do not contain color at all. They are sketched and draw, as well as shaded, using gray and black pencils. For such primitive tools, however, the artwork is simply amazing. There is certainly a sense of three-dimensional effects due to the adequate amount of shading and form within the illustrations. The lines are usually straightened but so detailed and blended that one cannot see the individual segments. The shading is complete in a way that almost makes one believe that the images were actually once in color and then placed in grayscale. One can almost determine what colors the areas would be based upon their level of darkness. The illustrator also incorporates depth and texture into the scenes that is obviously noticeable between objects. For example, the statue in the garden is completely smooth while the grass is textured and unkempt. The children also have a sense of motion about them, complete even with their own shadows, while everything else; except for the other animals of course, appear frozen.

The format of the book does allow for some prediction of what will occur within the text. On every page, the left hand side contains the text while the right side contains the full scale picture related to what was just detailed upon. The image is large enough

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for students to see the details and then predict what will occur next within the story before reading the accompanying text.

The illustrations of the human characters within the story complement those described within the text. The setting of the story seems to be in an upper-middle class neighborhood where the lawns are kept trimmed and the individuals live in medium to large scale houses. The children are also well mannered and educated. The illustration depicts them as well dressed and groomed, which provides further evidence that the children are indeed members of the higher social class. Unfortunately, many readers may not be able to identify with this type of class. Also, it is noticeable that all of the human characters in the story are of Caucasian decent. Of course, to be fair, it is important to note that there are actually relatively few human characters within the tale. Overall, the majority of readers should be able to identify with the characters and plot of the story seeing as it is based upon the simple activity of playing a board game and using one’s own imagination.

**Title: Bunnicula: A Rabbit-Tale of MysteryPublisher/Date of Publication Aladdin (1996)Author Deborah & James HoweIllustrator Alan DanielGenre Modern Fantasy (Mythical Quests/ Animal

Fantasy)Format Chapter BookAward *ALA Notable Children’s Books

*Cooperative Children’s Book Council*Dorothy Canfield Fisher Children’s Book Award

Reflection: a. Evaluation Criteria for Modern Fantasy (pg. 275 of Norton Textbook)

A humorous animal tale, Bunnicula, also contains elements of modern fantasy. It is appropriate to be read to second and third grades, while fourth and fifth grade students could probably read it own their own. Adding to the element of modern fantasy, the narrator within the story is none other than a talking dog. His partner, a mischievous and somewhat of a too-smart-for-his-own-good cat, band together in hopes of better understanding the new pet, a small white bunny. The animals within the story act as normal animals as they eat and sleep on the ground as well as make communicate with humans in the way all animals would. They do, however, talk, in English to each other as well as read and make human decisions. When the family goes to the movies to watch Dracula, one of the boys in the family sits on a little while rabbit. They, of course, bring him home and name him Bunnicula, after the movie where he was discovered. Almost immediately the talking cat becomes suspicious of the rabbit and is convinced that he is a vampire. He tries his best to make the rest of the family see the true nature of this bunny, but the family simply does not understand what he is trying to tell them. Discovering a book about vampires, the cat uses garlic, water, and even steak again the poor rabbit with

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red eyes and fangs. Some elements of the story are somewhat supernatural, however, seeing as the vegetables turn white without anyone influencing it. In the end, however, the bunny is finally accepted as a member of the family, even though the cat is still not convinced he isn’t a vampire.

The setting of this story is actually in a realistic setting. The family lives in modern times and behaves like a modern family. The parents have jobs while the children attend school. They also have pets, a cat and dog, which they love dearly. The entire context of this story remains in the natural world; just supernatural elements come into it. Since the family is so contemporary and relatable, the readers are easily convinced that the cat’s misunderstandings could be simply that, and the rabbit may indeed not be a vampire. The fantasy elements within the story include the talking among the cat and dog in English language. They never, however, communicate with the humans in this way. Also, the narrator of the story is the dog, Harold, himself. Due to this, one is able to see the story from his viewpoint, which is slightly less skewed than the cat’s view of the rabbit. The dog in the story is a bit more laid-back and not so obsessive about the bunny’s unusualness. As a matter of fact, the dog attempts to welcome and even feels empathic towards the bunny, much to the cat’s display. It is actually never proven that the bunny has supernatural or fantasy-based powers. The cat seems to think so, however, when the vegetables in the kitchen turn white and the bunny is able to escape from his cage. These supernatural elements are portrayed as such within the book, but are never really discovered as actually happening.

The themes in this story include love and friendship among the cat and dog companions, who have very different personalities but have remained a pack nonetheless. Another them, according to the cat, is that of social responsibility seeing as he feels it is his duty to notify the humans, any which way possible, that the bunny is a vampire. Finally, the cat also believes the theme of the story could possibly be good verses evil as he attempts to rid the house of the evil rabbit and protect his family.

The overall reactions of the characters in the story is consistent, which allow the fantasy element to become commonplace. The cat is persistent in finding a way to expose the bunny of his evil habits. The dog is pretty laid back and attempts to aid the cat, but is not completely convinced the bunny is a vampire. The humans remain confused because they are never actually exposed to the fantasy elements within the story. Instead, they usually punish the cat for his strange habits, which are in protest to the bunny.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

Since this is a chapter book, images are not displayed on every page nor are they as highly detailed as on might imagine in a picture book. In fact, the images appear somewhat sporadically through out the text, mainly on the beginning pages of the chapter or near the end of the chapter. These may take the form of a whole page, yet many or simply half a page with text located above or underneath.

The images within this book are drawn with pencil and shading. They are not colored nor do they evoke a since of three-dimensional work. The lines appear to be

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sketched and one can somewhat tell the individual lines that make up each object. The lines are dark so that in some cases it is difficult to tell the facial expressions of some of the characters within the story. Since the shading is so thick at times, it is also difficult to determine what the picture is actually showing. This is particularly true with the full scale illustrations. The smaller images that are located before the chapter title are not so difficult to view.

The cover of the text allows the reader to predict that this will be based upon some type of horror element, seeing as the font is written in typical thriller, red, dripping font. The bunny is located on the front, with dull hair but bright red eyes. His mouth is opened so one can see his sharp fangs. The dog and cat are also present on the cover. One can make predictions about the personalities of these characters by this simple image. It seems that the dog is much more laid-back and observant, making him a perfect candidate for the narrator. The cat is much more high-strung, full of his own thoughts and ready for action.

Since the story takes place within realistic times with a realistic family, it is certainly something many children may invest their time in. It will be obvious to them, however, that rabbits are not vampires nor can animals talk to one another. The situations that they find themselves in due to this, however, will probably be humorous to the students, allowing them to define the text as worthwhile.

**Title: Wait Til Helen ComesPublisher/Date of Publication Houghton Mifflin Company (1986)Author Mary Downing HahnIllustrator Mary Downing HahnGenre Modern Fantasy (Ghost Story)Format Chapter BookAward *Iowa Children’s Choice Award

*Dorothy Canfield Fisher Children’s Book Award*Pacific Northwest Library Association Young Reader’s Choice Award*Texas Bluebonnet Award*Maud Hart Lovelace Book Award*Volunteer State Book Award

Reflection: a. Evaluation Criteria for Modern Fantasy (pg. 275 of Norton Textbook)

In summary, this tale could be labeled as a ghost story for children. As many would agree, this story has spooky elements to it, but it is never actually scary. Along with these spooky elements include supernatural and fantasy episodes that transcend the book into being considered a modern fantasy. The setting is in current times, with modern people and ideas. At points during the book flashbacks or at least explanations of event that occurred hundreds of years ago in the same location are retold. This provides

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information to the reader so that he/she understands the underlying plot and actions within the story. The plot begins when a family moves out of the city and into the country, in an old church, near a graveyard. The family itself is somewhat unique in that there is a mother, step-father, two children by the mother and one child from the step-father’s previous marriage. The two older children, who are complete siblings, find it difficult to communicate and bond with their younger step-sister who is easily upset and manipulative. This particular child is very close to her father and interprets the other members of the new family as trying to steal him away. Before long the little girl finds a grave of a child who died in the lake beside the house over one-hundred years ago. Soon the young girl becomes obsessed with his figure and constantly visits the grave, disobeying her step mother and father, to “talk” to the young girl who has already passed away. Before long, strange things start occurring in the house. The other two children’s rooms are destroyed without any explanation. Finally, the story plot climaxes when it become reality that the girl who died is interfering with their lives and actually wants the youngest child, her new friend, to drown herself so that they can become friends forever. In attempts to save her, the oldest child discovers the truth about how the girl died and why she appears so restless. She apparently accidentally set the house on fire killing her step-father and mother. Afraid and upset she ran outside and fell into the lake, where she drown. All of this time she had been upset that her mother was mad at her and was not able to rest. The older girl explains to the ghostly figure that it was an accident and that all is forgiven now. Come to find out, however, a similar situation had occurred with the younger step-sister in the family, perhaps causing the two to bond so well.

Perhaps because it involves the human supernatural, many students find books like this more believable than any other modern fantasy. The setting is in contemporary times and the characters remain true to their beginning beliefs about the situation. The parents remain persistent, until the end of the story, that ghosts are not real and the entire story is fiction. The two older siblings are fearful of the young sister as well as the ghostly situation. As they grow to understand the actual events lead up to the story now, however, they appear to be more helpful and understanding. The youngest step-sister is odd and introverted. The readers are better able to understand why she acts this way near the end of the story when many of the hidden truths are revealed. While many of the characters remain mysterious in the text, it is not because of the supernatural elements, but mainly because of the well hidden secrets.

The author provides specific detail to the second story occurring within the plot, which is based upon the drown girl’s life in the same location over one-hundred years ago. The other characters within the story piece it together through the plot, but the author makes sure that it follows through and connects with the existing plot. This text, while spooky, is worthwhile to children and even provides a vague moral to it. At the end of the story it becomes obvious that the individuals were not cruel nor did they have bad intentions. Instead, they had accidents and felt guilty for them. It because obvious that one should apologize for these accidents and realize that no one is upset, simply because it wasn’t intentional.

b. Evaluation Criteria for Illustrations (pg. 119 of Norton Textbook)

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The images within the text are located sporadically through out the book and are not very detailed. Since this is a chapter book the images are drawn with sketches and lack color. They are somewhat stenciled with sharp, dark, straight, and vertical lines. The images themselves are somewhat vague and spooky. This perhaps foreshadows the vague and spookiness of the plot as the mystery unfolds within the text. The cover of the book provides the most color and appears to show two very similar children. One, however, is a ghostly figure while the other appears to be living in modern times. This foreshadows what is going on within the plot as the two individual meet and find that while they lived one-hundred years apart, they have a lot in common.

The images within the story complement the modern times of the text. The children are dressed in contemporary clothing and provide understandable facial expressions for the situation. They may seem to be frightened or confused in most of the images, simply because that is a common feature within the text. The images do not appear to show very much detail about the character’s ethnicity, yet one can understand by reading the text that the individuals are Caucasian and are from a middle-class neighborhood. Since the images and the text describe the family in more detail, however, more students will be able to identify with the modern situation. The family is composed of two different set of children who do not get along so well. The father and mother are attempting to raise the family as a unit but even they seem to make a distinction between the groups of which children are their own. This type of family dynamics is something that many modern children can identify with. The illustrations also foreshadow this inner struggle among the family just as much as the exterior, and supernatural, struggle.