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L i n d a G r e e n s t e i n K a r r e n T i m m e r m a n s P a u l a W i l k e s

J T A Y L O R E D U C A T I O N

A Deep, Complex, and Multicultural Look

i



Acknowledgments

lthough the front of this book lists us as the authors, there are several people whose work is representedon these pages. Each of them made important contributions at critical times when we needed newinspiration or new direction. We would specifically like to thank Sandra N. Kaplan and Bette Gould forbeing the driving force behind the development and refinement of the Icons of Depth & Complexityrelated materials; John Gould for believing Cinderella As You’ve Never Known Her could help teachersand their students engage in deep and complex thinking about literature; and Linda Greenstein’s4th-grade students for helping us field test and revise this resource.

About the Authors

Linda Greensteinhas been an educator in the Eugene, Oregon area for more than 30 years. In addition to teaching young childrenways to understand literature with Cinderella stories, she leads workshops to help teachers discover ways theycan use children’s literature to guide their students’ writing and book-making skills. Her most recent workshopsare A New Look at Writing: Creating Incredible Writers; and Fold, Twist, and Turn: Making Extraordinary Books withStudents.Ms. Greenstein may be contacted at [email protected].

Karren Timmermans, Ph.D.is an Assistant Professor of Education at Pacific University’s Eugene campus. Dr. Timmermans taught elementaryschool for ten years in the U.S. and Europe. She is co-author of two other J Taylor Education products, The IconLiterature Game and The Literature Response Journal. Dr. Timmermans may be contacted at [email protected].

Paula Wilkes, Ph.D.is an educational consultant. She is a retired Associate Professor of Education and former coordinator for theCenter for Gifted Education at Pacific University’s Eugene campus. Prior to joining the faculty at Pacific University,Dr. Wilkes taught for 25 years in the Eugene School District. She is co-author of several other J Taylor Educationproducts, including The Icon Literature Game, Deep and Complex Look Books, A Deep and Complex Look at Me,and The Literature Response Journal.Dr. Wilkes may be contacted at [email protected].

iii

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866-729-3817866-729-4817 (fax)

Definitions of dimensions of depth and complexity are from Differentiating the Core Curriculum and Instruction to Provide Advanced Learning Opportunities,California Department of Education and California Association for the Gifted, 1994. Symbols for dimensions of depth and complexity developed under theauspices of OERI, Javits Curriculum Project T.W.O., 1996.

Book design by David EdwardsManufactured in the United Statesof America

All rights reserved.

Only portions of this book intendedfor classroom use may be reproducedwithout permission fromJ Taylor Education.

Copyright © 2011Linda Greenstein,Karren Timmermans,Paula Wilkes



Table of Contents

vCinderella As You’ve Never Known Her by Greenstein, Timmermans and Wilkes

· Entry Points for Thinking about Cinderella as You’ve Never Known Her ......................................................................................· Welcome to Cinderella as You’ve Never Known Her: A Deep, Complex, and Multicultural Look ............................................· Cinderella as You’ve Never Known Her: A Deep, Complex and Multicultural Look ....................................................................· Cinderella Story Attributes ......................................................................................................................................................................· Understanding Cinderella Story Attributes in Deep and Complex Ways ......................................................................................· Cinderella Attributes in Deep and Complex Ways Chart ...................................................................................................................· Deep & Complex Summaries of Cinderella Tales ................................................................................................................................. Adelita: A Mexican Cinderella Story ................................................................................................................................................. The Turkey Girl: A Zuni Cinderella Story .......................................................................................................................................... Bigfoot Cinderrrrrella ......................................................................................................................................................................... The Gift of the Crocodile: A Cinderella Story ................................................................................................................................... Cinder Edna ......................................................................................................................................................................................... Cinder-Elly ........................................................................................................................................................................................... The Egyptian Cinderella ..................................................................................................................................................................... The Irish Cinderlad .............................................................................................................................................................................. · Student Books .............................................................................................................................................................................................. Ways to Use Student Books ............................................................................................................................................................. Level 1 .................................................................................................................................................................................................. Level 2 .................................................................................................................................................................................................. Level 3 ..................................................................................................................................................................................................· Student Projects ........................................................................................................................................................................................... Cinderella Icon Venn-Diagram Project ......................................................................................................................................... Cinderella Icon Flip Book Project ................................................................................................................................................... Template for Flip Book ................................................................................................................................................................. Cinderella Icon Tri-Fold Book Project .......................................................................................................................................... Template for Tri-Fold Book ......................................................................................................................................................... Cinderella Icon Accordion Book Project .......................................................................................................................................· Bibliography .................................................................................................................................................................................................

vi-vii125791315171921232527293132335781105107111117119125127129



vi Cinderella As You’ve Never Known Her by Greenstein, Timmermans and Wilkes

LENS ENTRY POINT

Concrete Starting Points to Focus Your Students’ Learning

Languageof the

Discipline

Details

Patterns

Rules

Trends

JargonFigures of SpeechSimilesMetaphors

Organizationof the StoryWriting Conventions

Rules theCharacters FollowFacts

GuidelinesLawsCultural Mores

SettingMain CharacterPlot

CyclesMotifsRecurring ElementsIn and Across Stories

RepetitionOrderPrediction

Change Over TimeCauses and Effectsof Change

Importance of ChangeStyles of the Timeand CultureInfluences

DriftsGeneral DirectionsForecasts

OrderRelationship

EventsCluesFacts

Distinguishing TraitsPeoplePlaces

AlliterationSlangIdiomatic ExpressionsKey Words

EponymsAbbreviationsHeritage Language WordsWords New to Me



viiCinderella As You’ve Never Known Her by Greenstein, Timmermans and Wilkes

LENS ENTRY POINT

Concrete Starting Points to Focus Your Students’ Learning

Ethics

UnansweredQuestions

MultiplePerspectives

AcrossDisciplines

Big Ideas

Over Time

ViewpointsInterpretationsExpert Views

MultidisciplinaryConnectionsPersonal Connection

Curricular IntersectionsArt and Media Enhancement

Heritage Language Use

Multicultural ViewsEnvironmental Views

Character PerspectivesPersonal Perspective

Overarching IdeasGlobal Themes

Moral of the StoryEvidenced Conclusion

Summarizations

Historical Relevance Look at Past,Present, and Future

Compare and ContrastContributions

InnovationsChange

PuzzlesConundrumsUnresolved Issuesor ProblemsControversiesConflictsDilemmasBiasesPrejudices

Pros and ConsRights and WrongsMoralsValues

JusticeCharacter’s PerceptionCultural RepresentationStereotyping

UnknownsDiscrepanciesMissing PartsDilemmas

Uncertainties AmbiguitiesAbout What areYou Left Wondering?



inderella, whose stepsisters go to great lengths to force their too large feet into Cinderella’s petite,delicate footwear, emerges in many versions from around the world. Immortalized in books and with playground jump-rope chants, Cinderella finds her prince from Mexico to China, from India tothe shores of Lake Ontario, and all points in between. Her wealth and beauty, found in many differentways, allow the world to see the journey from rags to riches, from servitude to gratitude, as a selflesspassage. Of course, with serious moral virtue comes the opportunity for parody. Cinderella emerges in a landfar away as a penguin wearing glass flippers, in the California forest as Bigfoot donning wooden clogs,and as a young lad tending cattle in Ireland. Cinderella appears as a dinosaur short one earring, theneighbor of a more independent version of herself, and an urban girl living in New York City.

Regardless of Cinderella’s persona, each fairy tale shares a common language and big ideas, particulardetails, and patterns of literary elements and writers’ craft. Each fairy tale explores rules of the cultureand time period, and trends of style or clothing. Readers may have unanswered questions or wrestlewith ethical portrayals of the characters. At a more complex level, Cinderella allows readers to identifyhow each element of the story stays the same or changes over time, to consider the big ideas frommultiple perspectives, and to express understandings of how these stories span across disciplines. By exploring Cinderella’s many cultures through the dimensions of depth and complexity, you andyour young readers will discover new understandings of Cinderella and the many worlds in which shefalls in love or declares her independence. Linda, Karren, and Paula will introduce you to a Cinderellayou have never known.

Enjoy.

W E L C O M E T OCinderella as You’ve Never Known Her:

A Deep, Complex, and Multicultural Look

1Cinderella As You’ve Never Known Her by Greenstein, Timmermans and Wilkes



Cinderella as You’ve Never Known Her:A Deep, Complex, and Multicultural Look

2 Cinderella As You’ve Never Known Her by Greenstein, Timmermans and Wilkes

Many young, voracious readers are not challenged by the direct recall and multiple-choice questionsfrequently used to assess their understanding. Children who access books deeply need to be challengedto describe their thinking and understandings in more complex ways. Invitations to think in deep andcomplex ways should be offered to all learners. One way to begin to eliminate the achievement gap forunder-represented populations of learners, and for students with specific learning disabilities, is to engagethem all in more rigorous, open-ended thinking. Students need frequent opportunities for deep andcomplex thinking, and lively discussions about the books they read. Cinderella as You’ve Never Known Hergives students an opportunity to expand on their developing reading comprehension skills and personalconnections to literature. Students who are repeatedly asked to think in these deep and complex wayswill develop skills and dispositions leading to powerful habits of mind; habits students will be able totransfer to future learning experiences.

In addition to supporting and structuring individual student learning, Cinderella as You’ve Never KnownHer provides the necessary support for diverse learners to work collaboratively about a shared versionof Cinderella or about multiple versions of the tale. While many students may not have had an opportunityto experience the challenge of deep and complex thinking, Cinderella as You’ve Never Known Her invitesall learners to analyze the numerous versions of the Cinderella tale from the upper reaches of their develop-mental potential.

Cinderella as You’ve Never Known Her is a dynamic way for all educators, including parents who home-school their children, to encourage young and adolescent readers to respond to Cinderella tales with depth and complexity. We include many resources designed to broaden and deepen your students’thinking and learning. Cinderella as You’ve Never Known Her provides opportunities for students todevelop skills in the following areas:

o Communication of ideas through words and graphicso Deep and complex thinkingo Social and emotional intelligenceso Vocabulary extensiono Comprehension skillso Connections across cultural perspectives

o Visual-spatial intelligenceso Summarization of thinkingo Verbal and written communicationo Higher level thinking skills in the areas of synthesis, analysis, and evaluationo Critical and creative thinking skills



Cinderella as You’ve Never Known Her:A Deep, Complex, and Multicultural Look


Cinderella as You’ve Never Known Her is designed for a whole class, small student groups, and individualsto respond to literature in deep and complex ways. This resource includes suggestions in ways to useCinderella stories with students, a chart for students to compare a Cinderella or other tale to the attributesapparent in typical Cinderella tales, summaries of Cinderella tales using the eleven Icons of Depth &Complexity, black-line masters for three levels of student booklets in which the students can evidencetheir learning, directions for projects using Cinderella tales, samples of student work, and an extensivebibliography of Cinderella tales. Each page invites readers to document their deep and complex thinkingin words and pictures. The student booklets are designed to reach three levels of learners: Level 1 foremerging readers, Level 2 to take students’ thinking to a higher level, and Level 3 for students who arecapable of expanding their ideas, and analyzing and synthesizing their understandings with less teacherdirection.

The purpose of Cinderella as You’ve Never Known Her is to provide students opportunities to think,write, and discuss in ways beyond the knowledge level questions of who, what, and where to deeperthinking supported by each level of depth and complexity. Once students understand how the iconsof depth and complexity function, they will be able to use Cinderella as You’ve Never Known Her individually,with small-group literature circles, and whole-class discussions to enhance comprehension. We ask you to encourage students to respond to each other’s comments in order to help them take risks withtheir thinking, to promote further in-depth conversations, to critically analyze and evaluate each versionof the Cinderella tales, to agree or disagree with each other, to seek evidence for their responses fromthe text, to synthesize their ideas, and to consult with group members when a response is not immediatelyavailable to them.




Cinderella Story Attributes



Understanding Cinderella StoryAttributes in Deep and Complex Ways


Details

Multiple PerspectivesEthicsRules

Trends

If we want to develop more autonomous learners, we need to model, scaffold for, and engage studentsin critically analyzing text and comparing attributes through the dimensions of depth and complexity.Analyzing and comparing literature through these dimensions invites students to demonstrate thinkingand learning in eleven different ways. Even more complex thinking is encouraged when we combinethose dimensions, such as looking at Trends through Multiple Perspectives, or analyzing how theRules Cinderella is to follow leads to an issue of Ethics. Here we offer students a way to critically analyzeand compare the many versions of the Cinderella tale, leading to purposeful thinking and deeperlearning.

The chart on pages 9-11, Cinderella Story Attributes in Deep & Complex Ways, identifies the attributesof a typical Cinderella fairy tale as seen through the dimensions of depth and complexity. This chartallows us to answer the question: What makes a tale a Cinderella tale? As part of discovering universalthemes present in the Cinderella tales, your students can use the chart to determine if the story theyselected contains the elements of a typical Cinderella story. Are all the elements present? Are someelements more emphasized than others? What deviations from the typical version does the authormake to create a unique or culturally reflective version? If the selected story does not contain theelements of a typical Cinderella story, does it fit in another genre such as tall tale? This latter discoverycan lead your students into an inquiry about other types of tales e.g., tall tales and folk tales. The chartcan be used to help students identify story attributes and organize their thinking, leading to multipleways of organizing and presenting the information they collect about each story (see Student Projectsbeginning on page 105). Rather than identifying story attributes for all eleven dimensions, students mayselect a single dimension Details and compare multiple stories through the single dimension, or considermultiple versions of Cinderella through a few dimensions. These resources are designed for flexibilityand differentiation. We encourage teachers to use them in a variety of ways to enhance students’learning.



Understanding Cinderella StoryAttributes in Deep and Complex Ways

t Adelita: A Mexican Cinderella Tale

t The Turkey Girl: A Zuni Cinderella Story

t Bigfoot Cinderrrrrella

t The Gift of the Crocodile: A Cinderella Story

t Cinder Edna, Cinder-Elly

t The Egyptian Cinderella

t Irish Cinderlad

Examples of Cinderella attributes as seen through the dimensions of depth and complexity can befound in the Deep & Complex Summaries of Cinderella Tales tables beginning on page 13. We includesummaries for eight different versions of the Cinderella tales, some fractured, some representingdifferent cultures, and one Cinderfella. The stories are as follows, with full references included in theBibliography:

These summaries are to help guide you as you deepen your understanding of the eleven dimensionsof depth and complexity. A black-line master, on pages 9, 10 & 11, is included in this section for youto create more deep and complex summaries of Cinderella tales with your students.




Cinderella Story Attributes in Deep & Complex Ways Chart

· Style: Traditional cultural tale.

· Author’s word choice impacted by setting and culture.

· Origin of main character’s name.

· Traditional cultural motif.

· Eponym for “rags to riches.”

·

·

· Personal item belongs to only one person.

· Rules main character must follow.

· Must return by a specified time.

· Rules of culture and time period.

· Class norms or expectations.

· Plot pattern: Orphaned and mistreated to happy.

· Fairy tale patterns: Good over evil, “long ago” or “once upon

a time,” often “happily ever after,” series of three.

· Cultural norms depicted in the story.

· Recurring elements and motifs.

· Main character’s life.· Relevance of setting and culture.· Family relationships.· Assisted by a helper who may have magical powers.· Goes to another place or event and is noticed by others.· Leaves something personal behind.· The left item belongs to or fits only the main character.· Main character’s transformation is key to the story.

Languageof the

Discipline

Details

Patterns

Rules

·

·

Cinderella As You’ve Never Known Her by Greenstein, Timmermans and Wilkes 9

Cinderella Story Attributes Your Story’s AttributesBook Title



· Story reflects styles and tendencies of represented culture.

· Story reflects the styles and tendencies of the time period.

·

·

· Kindness is rewarded.

· Never give up.

· Good triumphs over evil.

· “Rags to riches” is possible.

· Beauty as good vs. ugly as evil.

· Prejudice against poor.

· Expected to do a variety of chores while others didn’t.

· Depiction of step-family members as evil.

· Main character must transform to change in status.

· How did the main character maintain a positive attitude?

· Why does the lost item work only for the main character?

· Why does this theme appear in many time periods and cultures?

· What is the last name of the protagonist?

· What is the origin of the story?

· What does the lost item signify in the represented culture?

·

·


Trends

Big Idea

Ethics

UnansweredQuestions






· Transformation of the main character.

· Change in lifestyle for the main character.

· From loneliness to having relationships, magical and otherwise.

· Appearance of Cinderfella and animals in literature.

· Often happily ever after.

·

·

· Historical significance.· Social Studies and Culture Studies.· Psychology of human behavior.· Heritage language use.· Art and Visual Media value and enhancement of the story.· Traits of writing: o Word choice o Voice o Ideas o Organization

· Narrator tells story from perspective of mistreated main character.

· To some other characters she is not valued for more than the work she does.

· Multicultural versions show varied perspectives.

· Expert perspective (e.g., geographer, anthropologist).

·



AcrossDisciplines

Over Time




Deep & Complex Summaries of Cinderella Tales




Adelita: A Mexican Cinderella Story Author: Tomie dePaolaIllustrator: Tomie dePaola

Deep and ComplexSummaries of Cinderella Tales

· Father: a merchant.· Adelita orphaned (mother dies shortly after birth; father remarries when she’s a young woman; he dies of illness).· Stepmother takes over.· Helper: Esperanza (which means: hope, expectation, promise).· Hair: Braided with ribbons & flowers.· Adelita runs away at midnight.· Javier finds her - she hangs her rebozo out the window.

· Theme of loyalty and kindness and love of family.

· Household chores.

· Fairy tales patterns: good over evil, three family children.

· Cultural norms of class and status.

· Forced out of her nice bedroom to a cold room.

· Chores: Cook, clean and sew for stepfamily.

· Javier, the son of the wealthy Gordillo family, could never

marry a kitchen maid.

· Rebozo passed to Adelita from her mother.

· After her father dies, her stepfamily begins to mistreat her.

· Stepmother jealous of Adelita.

· Stepmother fires Esperanza, Mercado’s family housekeeper.

· Made to wear hand-me-downs, live in the attic, and work in

the kitchen.

· Disregarded because of orphan status.

· From orphan to wife in a wealthy family.

· Cultural style: Colorful rebozo; colorful Mexican tiles on

artwork; references to Catholic faith.

· Upper class family with nanny to watch after Adelita.

· Word choice impacted by setting and culture: Mexico (in a village). “Hace mucho tiempo - a long time ago...”

· Origin of name: Adelita (little Adela - for mother).

· Traditional cultural motif: Rebozo (Mexican shawl).

· Spanish language use: Fiesta (party).

· Expression: “Meanness and vinegar.”

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

· Why did the stepmother allow Adelita to marry Javier?

· Why did Adelita’s name change at the end of the story?

· Is the author/illustrator of Mexican heritage?

· Kindness and generosity will be rewarded: Adelita continued to be kind to Esperanza and help her stepsisters despite her loneliness.

· Loyalty is important.




Adelita: A Mexican Cinderella Story Author: Tomie dePaolaIllustrator: Tomie dePaola


· Adelita retains memories of her parents through Esperanza’s stories.

· Her parents, Esperanza, and Javier love Adelita, while her stepmother shows envy and her stepsisters cruelty.

· Artist: Artwork includes colorful folk art motifs that provide reader with a realistic look at rustic Mexican wares and furniture.

· Mother’s old shawl gets Adelita noticed by all.

· Her heart stayed warm (love of Esperanza and stories she told of Adelita’s parents, then love of Javier).

· Esperanza took care of several generations.

· Adelita’s name becomes “Cenicienta” (Cinderella) at the end of the story.

Over Time


AcrossDisciplines

· Art: Incorporates traditional Mexican artwork.

· Heritage language: Glossary with Spanish phrases.

· Cultural Geography: Effect of setting on the story.

· Reference to Cinderella story.

Additional Notes:




Author: Retold by Penny PollockIllustrator: Ed Young


· Setting: Days of the ancients in the shadow of Thunder Mountain; desert pueblo village, Matsaki (New Mexico).

· Pay for herding turkeys: corn and cast-off clothes.

· Helper: Huge gobbler “Old One.”

· Family: Turkey owners.

· Harvest Moon: Dance of the Sacred Bird.

· Turkey girl was loyal to the turkeys so they listened to her

dreams.

· Regular activities for the turkeys: Led turkeys across arroyo to graze during the day and return each evening.

· Music stopping and restarting - keeping her at the dance.

· Turkeys say, “Don’t forget us. For if you do, we will understand that you are mean of spirit and deserve the hard life that is yours.”

· Must return to turkeys before Sun-Father returns to his sacred place. Had to leave pen unlatched.

· Chore: Tend to the turkeys.

· Other adults didn’t take her in when she was orphaned.

· Other girls wouldn’t talk with her.

· Didn’t keep promise to the turkeys. Was her desire to dance equal to the punishment?

· Paid with corn and “cast-off clothes.”

· Went from loving the turkeys to thinking of them as “mere

turkeys,” remembered their kindness, but it was too late.

· Cultural style: doe-skin dress; yucca fiber sandals.

· Word choice impacted by setting and culture: Zuni (American Southwest Native American).

· Origin of character name: Turkey Girl (herded turkeys).

· Traditional cultural motif from turkeys: White doe-skin dress and moccasins.

· Metaphorical language: “before Sun-Father returns to his sacred place” - dusk

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

The Turkey Girl: A Zuni Cinderella Story

· Why did Turkey Girl call the turkeys “my friends”?

· Why didn’t Turkey Girl return when she had promised?

· What happened to Turkey Girl after she lost the turkeys?

· When others help you, you must return the good favor.

· “When you break trust with Mother Earth, you pay a price.”

· Remain true to one’s promise.




· Turkeys – Tall brothers cannot be trusted, even Turkey girl doesn’t remain loyal.

· Other girls – Turkey Girl wasn’t worthy of their time.

· Adults – Used Turkey Girl as a turkey herder.

· Turkey Girl – Had great loneliness.

· Sociologist: This version had the main character paying a heavy price.

Over Time


AcrossDisciplines

· Heritage language: “Dance of the Sacred Bird.”

· Social studies: Zuni cultural information.

· Art: The Eastern heritage of the illustrator impacts the way he depicts the harshness of the environment.

· Breaks from the typical Cinderella story of rags to riches.

Additional Notes:

· Clothing: From tattered dress, thread-bare shawl, yucca- cactus sandals, to white doe-skin dress & moccasins, back to tattered clothes.

· Jewels people lost had been saved in gullets of turkeys then used as jewelry for Turkey Girl.

Author: Retold by Penny PollockIllustrator: Ed Young


The Turkey Girl: A Zuni Cinderella Story




Bigfoot Cinderrrrrella Author: Tony JohnstonIllustrator: James Warhola


· Bigfoot woman and her three daughters (one a stepchild).

· Rrrrrella had to catch fish for the family.

· Clothing: None.

· Helper: Grizzly bear (beary godfather).

· Left behind bark clog.

· Every year Bigfoot prince gave a great Funfest.

· Seeing sisters in flowers made the Bigfoot prince angry.

· Stepmother and stepsisters were unkind.

· “No pick flowers!” (Bigfoot prince’s rule).

· Whichever woman rolled the prince off a log into the river would become his wife.

· Rrrrrella had to be back by sundown.· The clog must fit the woman the prince will marry.

· Rules for stepfamily to attend wedding: “No pick flower.” “No pull tree.” “No kick royal family.”

· Chore: Fishing.

· Sisters threw rocks at spotted owls.· Sisters despised Rrrrrella and made her work.· They teased her like stinging mosquitoes.· Rrrrrella loved nature and would harm no creature.· Rrrrrella was allowed to go to the Funfest.· Violent reactions by stepmothers and stepsisters.· Portrayal of Bigfoots as slow-witted.

· Clothing style: None…just hairy.

· Yearly Funfest (rolling logs and other events).

· Respect for nature.

· Word choice impacted by setting and culture: Bigfoot

(California old growth forest).

· Origin of character name: “Rrrrrella” (her name was Ella,

but everyone called her Rrrrrella when they roared at her).

· Traditional cultural motif: Bark clog.

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

· What happened to Ella’s mother and father?

· Why wasn’t the beary godfather at the wedding?

· When Rrrrrella married, were they allowed to pick flowers? Why or why not?

· Kindness is rewarded while unkindness is punished.

· Be kind to all wild creatures.

· Perseverance is golden.

· Beauty is in the eye of the beholder.

· Beauty is as beauty does.




· In this story, rather than being weak, Rrrrrella is the strongest Bigfoot woman in the forest - a different perspective than in other Cinderella tales.· Even though she smelled, the prince wanted her: “Where my stinking beauty go?”· Ugly and smelly can be beautiful.· Humorist: Use of irony - one who is hairy, odiferous, and has big feet wins the heart of the Bigfoot prince.

Over Time


AcrossDisciplines

· Writer’s craft: Humor, personification, character’s voice.

· Ecology: Old growth forest and beauty of nature.

· Art: Illustrations complement humor of story.

· Environmentalism and conservationism.

· Glossary of ecological terms.

Additional Notes:

· Rrrrrella had to comb her fur and put flowers in it. Beary godfather made the flowers turn to dust and matted her fur. As the sun was setting, her fur went sleek, and wildflowers sprouted. At the end, when trying on the clog, fur was matted.


Author: Tony JohnstonIllustrator: James Warhola

Bigfoot Cinderrrrrella




The Gift of the Crocodile: A Cinderella Story Author: Judy SierraIllustrator: Reynold Ruffins


· Damura became motherless.

· Father married neighbor with one daughter.

· Helper: Grandmother Crocodile.

· Left behind gold slipper.

· Went to the river to ask for help:

° Damura

° Stepsister

° Prince

· Learned dances of their ancestors.

· Chores: Forced to do housework and tend to rice fields.

· Must return from palace as soon as the first rooster crows.

· Mother taught Damura respect for animals.

· Damura had traded her happiness for a doll.

· Cultural style: Sarong.

· When Damura was sorry about losing a slipper, she was told: “That one slipper will make you a princess.”

· Rags to riches.

· Word choice impacted by setting and culture: Indonesian (Island of Halmahera in the Spice Islands, Indonesia).

· Origin of character name: Damura (author doesn’t explain).

· Traditional Cultural Motif: Gold slipper; sarong.

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

· What is the importance of a grandmother in this culture?

· Why is the father not more involved in the story?

· What became of the stepfamily after fleeing into the forest?

· Mother told her to respect all wild creatures.

· Future stepmother used a doll to bribe Damura.

· Stepsister impersonated Damura.

· After wedding, stepfamily pretended to make amends with Damura then threw her in river.

· Kindness is rewarded while evil is punished.

· Be kind to all wild creatures.

· Be careful when making trades.




· Damura wanted her father to marry the neighbor, but he really didn’t want to: “We have a good enough life.”

· Ecotourism Guide: Whereas many people have a negative image of crocodiles, Grandmother Crocodile is seen not only as a helper but also a hero for saving Damura’s life.

Over Time


AcrossDisciplines

· Art: Lush vegetation with vibrant colors.

· Zoology: Wildlife plays a central role.

· Botany: Story depicts plants of the area.

Additional Notes:

· Old, ragged sarong turns to sparkling, silver sarong.

· From the words of her dying mother at the beginning until the end of the story, kindness to animals was important.

The Gift of the Crocodile: A Cinderella Story Author: Judy SierraIllustrator: Reynold Ruffins





Author: Ellen JacksonIllustrator: Kevin O’Malley


· Cinderella was beautiful.

· Cinder Edna was strong and spunky.

· Helper: Cinderella had one, but Edna didn’t believe in one (she takes care of herself).

· Left behind glass slipper & scuffed loafer.

· The story moved back and forth between Cinderella and Cinder Edna.

· The couple who cared so much about their looks continue to be superficial, while the down-to-earth couple were happy and cared about making the world a better place.

· Chores: Cinder Edna had to do all the family chores, but she sang and whistled while she worked.

· Cinder Edna: Left early because the buses stopped running at midnight.

· Cinderella: Left by midnight.

· The Cinder Edna version: mascara, dental floss; dance style (boogied & woogied).

· Cinderella not able to figure out things for herself, has to rely on Fairy Godmother; Cinder Edna self-reliant.

· Transportation style: Cinderella a carriage, Cinder Edna a bus.

· Word choice impacted by setting and culture: Traditional version woven with American feminism.

· Origin of character name: Two main characters – Cinderella

(traditional) and Cinder Edna (feminist).

· Traditional cultural motif: Glass slipper and scuffed-up loafer.

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

· What became of their step-families?

· Why are beautiful people depicted as superficial?

· Why are those who care about making the world a better place often portrayed as “nerdy”?

· Handsome prince’s brother recycled plastic and ran a home for orphaned kittens.· Stereotype: Beauty and wealth as superficial.· Stereotype: Intelligent and environmentally aware as nerdy.

· We don’t all have the same values or views of happiness.

· Being self-reliant and optimistic sets you up for a happier life.

Cinder Edna




· Edna thought Randolph was boring.

· Randolph wanted beauty while Rupert wanted someone practical and self-reliant.

· Psychologist: Young girls are able to see a heroine who is self-reliant and able to find a husband without changing her appearance.

Over Time


AcrossDisciplines

· Art: Complements the weaving of two versions.

· Environmentalism: Solar heating, recycling, gardening.

· Social studies: American feminism.

Additional Notes:

· The personality styles of Ella and Edna didn’t particularly change from the beginning to the end.

· This book showed a comparison of a traditional Cinderella to a more modern, feminist character.

Author: Ellen JacksonIllustrator: Kevin O’Malley


Cinder Edna




Author: Frances MintersIllustrator: G. Brian Karas


· Two mean sisters: Sue and Nelly, who forced her to serve them and do the chores.

· The three sisters won tickets to basketball game.

· Helper: Old woman, godmother with magical cane.

· Garbage can became a bike.

· Took place at a basketball game.

· Godmother used her cane like a wand, created clothes and a mode of transportation.

· There is a Prince Charming (basketball player).

· Left behind a glass sneaker.

· Be home by ten p.m. or pretty new clothes will disappear.

· Chores: Washed floor and served ice tea.

· Poetic, rap-style.

· Clothing style: Miniskirt, sneakers.

· Prince Charming wants to meet for pizza.

· Prince has to “blow-dry his hair.”

· Modern “prince” is a basketball player.

· Word choice impacted by setting and culture: Modern day New York City (Manhattan).

· Origin of character name (unknown): Cinder-Elly.

· Traditional cultural motif: Lost glass high-top sneaker.

· Writer’s craft: Poetic rap.

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

· Why did the parents allow Elly to be treated like a servant?

· Why did the mom say that there was only money for the two older girls?

· Where did Cinder-Elly and Prince go in the taxi?

· Why did Godmother choose to help Elly?

· Sisters ordered Elly around and didn’t include her in activities.

· Godmother gave the mean sisters a scolding.

· Being mean is wrong and, if found out, gets punished.

· Kindness is rewarded.

Cinder-Elly




· Sisters learned a lesson and everyone lived forever happy.

· City Planner or Architect: The artwork showed life in a city including an apartment building, a lost/found poster on a post, and a car with a parking ticket. All of this is significantly different from the setting of the traditional tale.

Over Time


AcrossDisciplines

· Art: Complements story with views of New York City.

· Writing Genre: Poetic rap.

· Sociology: Life in an American city versus rural way of life often depicted in Cinderella stories.

Additional Notes:

· Old clothes changed to a new outfit and then changed back.

· This is a modern-day tale.

· Sisters said that if they ever feel mean again, they wouldn’t show it.

Author: Frances MintersIllustrator: G. Brian Karas


Cinder-Elly




Author: Shirley ClimoIllustrator: Ruth Heller


· She was kidnapped as a child from Greece by pirates and taken to Egypt to become a slave.

· Washed clothes at Nile’s banks, gathered reeds.

· Ordered around by the other servant girls.

· Helper: Falcon.

· Egyptian girls in this story: Brown eyes, straight hair, copper skin.

· Rhodopis the slave girl: Green eyes, tangled hair, pale skin with rosy burned color.

· Had to follow the orders of the household servants because she was a slave.

· Had to stay behind and do work while they went to party with the Pharaoh.

· The girl the Pharaoh would marry had to be able to wear the small shoe.

· Chores: Wash clothes and gather reeds.

· Cultural style: Papyrus sandals, plain tunic.

· Long ago in Egypt – household servants and slaves.

· Word choice impacted by setting and culture: Egyptian (6th century B.C.).

· Origin of name: Rhodopis (Greek for “rosy cheeks”).

· Traditional cultural motif: Rosy gold slipper; plain tunic for a slave.

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

· What happened to the servant girls?

· How was Rhodopis captured into slavery?

· Does her fair-colored skin make her more beautiful than the other girls?

· Mistreated by household servant girls.

· Other girls jealous of her rose-red slippers.

· Girls from one culture taken into slavery by another culture.

· Fair-haired servant girl chosen over dark-haired Egyptians.

· Being patient, hard-working, and kind can pay off.

The Egyptian Cinderella




· Rhodopis mistreated by household servant girls.· Rhodopis loved by animals.· Pharaoh described her eyes green like the Nile, her hair feathery as papyrus, skin pink like the lotus flower, making her very much Egyptian.

· Cultural Awareness & Sensitivity Trainer: By weaving fact and fiction, the author reinforces the stereotype of a fair, light-eyed woman as being preferred over those with darker eyes and skin.

Over Time


AcrossDisciplines

· Art: Complements the story.

· Egyptian culture: Clothing and messages from the gods.

· Literature: One of the oldest Cinderella stories.

· History: A Greek slave girl (Rhodopis) did marry a pharaoh.

· Geography: Development of cities near large rivers.

Additional Notes:

· Animals played an important role throughout the story.

· Rosy gold slipper a gift from her master, taken by a falcon to the Pharaoh, seen as a sign from the gods, searched for the girl it fit.

· This story is both fact and fable (a Greek slave girl did marry the Pharaoh approx 500 B.C.).

Author: Shirley ClimoIllustrator: Ruth Heller


The Egyptian Cinderella




Author: Shirley ClimoIllustrator: Loretta Krupinkski


· Becan became motherless

· Small boy with large feet.

· Father a peddler came home with wife and three older daughters.

· Helper: A bull (later his tail).

· Left behind boot.

· Similarity between Becan and bull:

° White face with red freckles

° Big hooves/feet

· Went to bull to get fed and have a friend.

· Magic used in positive ways.

· Every seven years the dragon rose from the ocean.

· Forced to be a herd boy by stepmother.

· Wore the bull’s tail as a belt when bull’s help was needed.

· The boot left behind could fit only one person.

· Chores: Herd boy – tends cows.

· Rags to riches.

· Cultural styles: Women with long dresses and aprons; egg baskets.

· Word choice impacted by setting and culture: “In Ireland, in the old times.” (19th century)

· Origin of character name: Becan (Irish for “Little One”).

· Traditional cultural motif: Giant boots.

· Cultural food: Milk porridge, bread, cheese, sausage, boiled turnips, partridge pie, and oaten cakes.

Languageof the

Discipline

Details

Patterns

UnansweredQuestions

Ethics

Trends

Rules Big Idea

· Where did the giant go when Becan sent him away?

· Why did Becan need to lose the tail and his connection to the bull?

· Why did the two bulls need to fight?

· What happened to Becan’s father?

· Stepsisters tattle.

· Becan fed scraps.

· Becan warned the bull he would be butchered by the stepmother.

· Allowed animals to eat from neighbor’s (giant) field.

· Took an apple without asking.

· Kindness is rewarded while evil is punished.

· Hard work pays off.

· It isn’t your size that really matters. Becan showed he was a big person in many ways.

The Irish Cinderlad




Over Time


AcrossDisciplines

Additional Notes:

· Demonstrated growth in courage: From frightened herd boy to fighting a giant and dragon.

· From herd boy to prince.

· Took a year to find Becan to try on boot.

· Never returned to his home after the death of the bull.

Author: Shirley ClimoIllustrator: Loretta Krupinkski


The Irish Cinderlad

· A cow with a white face and red ears was considered an enchanted creature in Ireland.

· The bull, Becan’s master, and the princess saw his potential.

· Tourist Guide and Anthropologist: Cinderlad tales aren’t unique to Ireland. They can be found in other areas of Europe as well as India, Japan, and Africa.

· Art: Complements story.

· Culinary arts: Traditional Irish foods.

· Heritage language: “Slan” (goodbye), “arhach” (giant).





Student Books



Ways to Use Student Books

Teacher Planning.Teachers read a version of the Cinderella tale and create their own deep and complex summary while using the student book toguide students through each dimension. They may use the Deep & Complex Summaries of Cinderella Tales examples providedin this book, beginning on page 13, to model ways of thinking and to help promote student’ comprehension.

Scaffolded Learning.· Heads Together with the Whole Class. The teacher reads aloud a selected Cinderella tale, or individual students read a common version of the Cinderella tale. The teacher prompts students’ thinking by posing questions from the student books. Small groups of students put their heads together to generate a common answer to share with the class. Each group must provide evidence from the selected Cinderella tale to support their response. The teacher records group responses in his or her copy of the student book in order to model the process of recording ideas. During this activity, the teacher can help to clarify understandings of the dimensions of depth and complexity, and model ways to find evidence within a text.

· Literature Circle (Group Response). Each of several small groups reads a selected version of the Cinderella tale and creates a shared student book. The small groups become experts of their version and share their discoveries and understanding of the tale with the whole class.

· Literature Circle (Individual Response). Small groups read the same version of the Cinderella tale, with each group reading a different version, and create individual student book. Individuals share their discoveries and understandings of the common text with their own small group. Students can jigsaw to a new group with a representative from each group. The jigsaw expansion allows students to hear what others have learned about other Cinderella tales.

· Individual Response. Students read a self-selected version of the Cinderella tale and complete their own student book. Creating a student book provides the opportunity for students to prepare for a book report, essay, or other individual project (see sample Student Projects beginning on page 105 ). All group and individual responses can be kept in a common area to serve as reference materials for later use.




Student BookLevel One




key wordsjargonvocabulary

Where does this story take place?Draw a map of the setting.to this story.

Draw a picture for each word.

What sentence or phraseis your favorite? Explain why.

How did the characterget his or her name? Language of

the Discipline

Story Title

Write key words specific




factsfeaturesparts

Draw and label afew details important

to this story.

List the importantdetails.

Describe the clothingand appearance of the

main character.

Before change:

After change:

Who helps the maincharacter change?

Details

Story Title




What questions would you ask the characters? What similarities did you notice between this story and another Cinderella tale?

Draw and label the sequence of events.

List important patterns in this story.

recurringelements

processesmotifs Patterns

Story Title




Draw and label the maincharacter following a rule.

List other rules the maincharacter had to follow.

What chores did the maincharacter have to do?

Rules

What would happen if the maincharacter did not follow this rule?

Describe the rule the helpergave to the main character.

lawsorganizationcultural mores

Story Title




Trends

change

generaldirections

Draw pictures of the clothing,accessories, housing, or other

trends you noticed.

List the details that show thestyle of this time, place,

or culture.

How were the main character’sstyle or accessories used in

this story?

Trends

Story Title




UnansweredQuestions

unknownsdilemmasambiguitiesWhat’s missing? Draw and label what you think should have been included in the story.

What questions would you ask the characters?

What questions do you have about the story?

What advice would you give the main character?

Story Title




not resolved for the maincharacter.

In what ways did the maincharacter have to change? Whywere these changes important?

Describe how others treatedthe main character.

Ethics

controversiesrights & wrongs

Story Title

Draw how a conflict was or was

conflicts




Draw a picture of this big idea.What other stories have you readwith a similar big idea?

What is the moral of this story?Find evidence from the story

to support your thinking.

How is this big idea importantto you?

Ethics

Big Idea

main ideathemegeneralization

Story Title




Draw the main character:in the future

Draw the main character:at the middle

Draw the main character:at the beginning

Ethics

Over Time

past,present,future

Story Title




Use adjectives to describe:How you would describe

the main character.

Use adjectives to describe:How those who did not like themain character would describe

him or her.

Use adjectives to describe:How friends would describe

the main character.

viewpointsexpert views Multiple

Perspectives

Story Title




Draw a new book coverfor this story.

This story helped me learnmore about...

How did the pictures help youto understand this story?

subject areaconnectionscurricularintersections

AcrossDisciplines

Story Title




Student BookLevel Two




Story Title

List phrases to describe how the illustrator or author depicts the story’s setting.Illustrate your representation of the setting.

Note significant details related to the maincharacter’s name. Find evidence from the story to

support your response.

Write words specific to this language and culturethe author includes.

particular wordssymbolsexpert’s vocabulary

Language ofthe Discipline




Story Title

Visually represent the cultural elements specific to this version of the Cinderella tale.

Describe the cause and effect of the main character’stransformation.

Summarize important details the author andillustrator include specific to this version of Cinderella

and the culture represented.

Details

pieces ofinformationaspects

Describe the clothing and appearance of the maincharacter before and after the transformation.




Story Title

Compare and contrast attributes of this story to other versions of the Cinderella story.Organize your ideas in a Venn diagram.

Identify and explain the repetitive elements in the story.

repetitionsdesignsorder

Patterns




Story Title

Visually represent the rules the lead characters had to follow in each of the versions of Cinderella you have read.

In what ways were the main character’s choresrepresentative of the time and culture depicted

in this version of Cinderella?

What might be consequences of not following therules or completing chores?

Compare and contrast the responsibilities of themain character to other characters in this story.

Rules

standardsmethodsstructure




Story Title

Create a diagram representing social, cultural, family, or other influences on the lead character.

Identify how the characters represent cultural styles. Prioritize, from most important to least important,the ways in which the characters changed during

the story.

flow(direction)direction ofchange

Trends




Story Title

Show how something you were wondering about can be incorporated into the story.

What are you left wondering aboutthe main character?

What more do you want to learn about the culturerepresented in the story?

unrevealedmysteriousUnanswered

Questions




Story Title

Depict how prejudices are represented in this story.

Explain the lead character’s main conflict in this story. What ethical issues can you identify from this story?

Ethics

moralprinciplesgood vs. bad




Story Title

Visually represent the overall theme of Cinderella stories.

Identify the story’s moral or main idea.Find evidence from the story to support your response.

What generalizations can you make of all theversions of the Cinderella stories you have read?

Big Idea

universal ideatheorygeneralization




Story Title

Use a graphic organizer to show how this story connects to other topics you know.

Compare and contrast what changed over time and what stayed the same throughout this story.

Over Time

changesmodificationsalterations




Story Title


Represent how other characters’ views of the lead character changed.

Describe yourself as the lead character from this story. Write adjectives an expert, such as a historian,geographer, or anthropologist, would use to describe

this story to others.

Describe yourself as a secondary character from this story.

points of viewways ofregarding




Story Title

Use a graphic organizer to show how this story connects to other topics you know.

In what ways did the illustrations add valueto this story?

Differentiate relevant from irrelevant facts youlearned about the culture, land, or climate portrayed

in this story.

multiple subjects’influencecurricularintersections

AcrossDisciplines




Student BookLevel Three




Language of the DisciplineLa

nguage of the

jarg

onkey w

ords


What descriptive language does the author use to exemplify the culture representedin this story? Include evidence (words and phrases) from the story.



Details

Detailsfe

atur

esattributes


What details represent the culture depicted in this story? Categorize, classify, ororganize the details into three or more groups. Label each group.



Patterns

Patterns o

rder

recurring elements


What predictive elements in this story distinguish it from other versions of theCinderella tales? Create a design for each set of elements.



Rules

Rules c

ultu

ral m

ores structure


Evaluate the rules the main character had to follow. Develop an argument for whythe rules should or should not be followed.



Trends

Trends c

hang

es o

ver t

ime

styles of the time / culture


Compare and contrast how the lead character changes in each of the versions ofCinderella you have read.



Unanswered Questions

QuestionsUnanswered

unk

now

n; m

issi

ng p

arts

discrepancies


Write an epilogue to address the questions the author left unanswered.



Ethics

Ethics

righ

ts /

wro

ngs m

orals; values


What ethical issues arise within this story based on the characters’ actions?



Big Idea

Big Idea

glob

al th

eme

evidenced conclusion


Compare the theme of this story to other versions of the Cinderella story. How are they the same and how are they different?



Over Time

Over Time lo

ok a

t pas

t / p

rese

nt /

futu

rechange


What is the significance of the story’s theme to present day and your life?



Multiple Perspectives

Perspectives

Multiple

vie

wpo

ints

expert views; m

ulticultural views


List adjectives you would use to describe this story to others - pro/con. Share yourlists with two others. Add the adjectives your partners use to your list.



Across Disciplines

Disciplines

Across

cur

ricu

lar i

nter

sect

ions

subject area connections


What experts could help you understand the perspective and/or culture depictedin this story? What might the experts say?



In this section we describe a variety of ways students can displayor present their work using the dimensions of depth and complexity.


Student Projects



Cinderella Icon Venn Diagram Project

READ two Cinderella stories.

IDENTIFY story attributes for each dimension for both stories.

The teacher can decide if the students need to find story attributes for all eleven dimensions or only select a few.

DRAW a Venn diagram on a large piece of paper (e.g., 18x24 or 12x18).

COMPLETE the Venn diagram to compare and contrast the two Cinderella stories.

ILLUSTRATE each circle of the Venn diagram with an image or symbol

to represent each story (e.g., the main character’s faces, a wooden bowl, or a boot).

Following this page are two Venn diagram EXAMPLES:

The first Venn diagram is a comparison of Joe Cinders by Marianne Mitchell and Cindy Ellen by Susan Lowell (see figure 1 on page 108 ).

The second Venn diagram is a comparison of The Salmon Princess: An Alaskan Cinderella by Mindy Dwyer

and Lily and the Wooden Bowl by Alan Schroeder (see figure 2 on page 109 ).





Figure 1Venn Diagram comparison of Joe Cinders by Marianne Mitchell and Cindy Ellen by Susan Lowell



Figure 2Venn Diagram comparison of The Salmon Princess: An Alaskan Cinderella by Mindy Dwyer and Lily and the Wooden Bowl by Alan Schroeder




Cinderella Icon Flip Book Project

ENLARGE the template included on page 117 to 11x17 photocopy paper (or 12x18 construction paper) for each student.

Fold the sheet in half length-wise, crease, and unfold so icons are face down.

FOLD bottom up to the middle crease so the icons face up toward you.

FOLD top down to middle crease so the icons face up toward you.

CUT along dashed line between the icons.

FOLD in half so title and author page are on the front for the Cinderella Icon Flip Book.

Students COMPLETE the book by writing attributes of a selected version of Cinderella for each icon.

Following this page are two EXAMPLES of the Cinderella Icon Flip Book and the Flip Book template itself:

· The first example is Prince Cinders by Babette Cole (see figures 3 & 4 on pages 112 & 113).

· The second example is Yeh Shen by Ai-Ling Louie (see figures 5 & 6 on pages 114 & 115).




Figure 3First example of the Cinderella Icon Flip Book: Prince Cinders by Babette Coleshowing student illustration, title and author information on template cover.




Figure 4First example of the Cinderella Icon Flip Book: Prince Cinders by Babette Cole

featuring a completed template with student-written and illustrated attributes for each icon.




Figure 5Second example of the Cinderella Icon Flip Book: Yeh Shen by Ai-Ling Louie




Figure 6Second example of the Cinderella Icon Flip Book: Yeh Shen by Ai-Ling Louie




Title

Author

Trends DetailsPatternsRulesUnansweredQuestions

Languageof the

Discipline

Big Idea

Big Idea EthicsMultiplePerspectives Over TimeAcross

Disciplines



Cinderella Icon Tri-Fold Book Project

ENLARGE the black-line template on page 125 to 11x17 photocopy paper (or 12x18 construction paper) for each student.

START with the icons facing up.

FOLD the paper in half widthwise (hamburger fold).

With the fold crease toward you at the bottom and the opening at the top,

FOLD the top sheet down toward you in half to meet the bottom crease.

On the front of the folded paper, DRAW an image or symbol from the book (e.g., a picture of the main character).

On the inside, FILL IN the attributes of the Cinderella story for each icon.

On the next pages are two EXAMPLES of the Cinderella Icon Tri-Fold Book followed by the Tri-Fold Book template:

· The first example is Rough Face Girl by Rafé Martin (see figures 7 & 8 on pages 120 & 121).

· The second example is Cinderella Skeleton by Robert San Souci (see figures 9 & 10 on pages 122 & 123).




Figure 7First example of the Cinderella Icon Tri-Fold Book: Rough Face Girl by Rafé Martin

wih student art done on the front of the folded paper.





Figure 8First example of the Cinderella Icon Tri-Fold Book: Rough Face Girl by Rafé Martin

featuring student-drawn artwork and written icon attributes.



Figure 9Second example of the Cinderella Icon Tri-Fold Book: Cinderella Skeleton by Robert San Souci




Figure 10Second example of the Cinderella Icon Tri-Fold Book: Cinderella Skeleton by Robert San Souci




Lang

uage

of

the

Dis

cipl

ine

Det

ails

Pat

tern

s

Rul

es

Tre

nds

Title:

Author:

Una

nsw

ered

Que

stio

ns

Eth

ics

Big

Ide

a

Ove

r T

ime

Mul

tipl

e P

ersp

ecti

ves

Acr

oss

Dis

cipl

ines



Cinderella Icon Accordion Book Project

SELECT and READ a version of Cinderella.

For six icons, use 9x24 paper. You can cut an 18x24 sheet of paper in half to get 2 9x24 sheets of paper.

FOLD the paper into 6 equal sections, with each section 4-inches wide.

UNFOLD the paper.

FOLD the bottom of the paper up approximately 2 inches to hold index cards.

On the 2-inch fold, DRAW the icon for each of the six sections.

Instructions continued on the next page




Cinderella Icon Accordion Book Project

FOLD the top of the paper down approximately 1 inch.

INSERT each index card into the corresponding section.

FOLD the accordion book and ILLUSTRATE the cover.

ALTERNATE PAPER SIZE:For four icons, use 12x18 construction paper

following the directions above.




Bibliography

his extensive bibliography includes the authors and illustrators of Cinderella stories from close to 30 countriesaround the world, each representing cultures of today and from the past. Additional versions of Cinderella andsome stories representing a cultural perspective are cross-listed under other headings in the bibliography. Theseother headings are Alphabet Books, Animals, Anthologies, Bilingual Books, Cinderfella (a male lead character),Fractured Fairytales, Graphic Novels, Interactive Books, Novels, Poetry and Verse, and Point of View. Under thefinal heading, Professional Resources, we list a few books to help you and your students deepen your understandingof the historical and metaphorical significance of Cinderella. Although some of the books listed may be out ofprint, you may be able to find them through independent booksellers or the library. Also, the publisher may haverereleased a newer, updated version of the same story, giving it a more recent publication date. Of course, you’llwant to keep an eye out for new versions of Cinderella. She seems to appear as just about every type of character, andin every possible setting and country; true to the traditional story line, or fractured with a twist of humor and irony.

Myers, Bernice. Sidney Rella and the Glass Sneaker. New York: Macmillan, 1985.San Souci, Robert D. The Talking Eggs: Folktale for the American South. New York: Dial, 1989. San Souci, Robert D. Sukey and the Mermaid. Illus. Jerry Pinkney. New York: Simon & Schuster, 1996. San Souci, Robert D. Cendrillon: A Creole Cinderella. Illus. Jerry Pinkney. New York: Simon & Schuster, 1998.San Souci, Robert D. Cinderella Skeleton. Illus. David Catrow. New York: Harcourt, 2000. Sathre, Vivian. Slender Ella and Her Fairy Hogfather. Illus. Sally Anne Lambert. New York: Yearling, 1999.Schroeder, Alan. Smoky Mountain Rose: An Appalachian Cinderella. Illus. Brad Sneed. New York: Puffin Books, 1997. Smith, Mary Carter. “Cindy Ellie: A Modern Fairy Tale.” Talk That Talk: An Anthology of African- American Storytelling. Eds. Linda Goss and Marian E. Barnes. New York: Simon & Schuster, 1989. 396-402.Takayama, Sandi. Sumorella: A Hawai’i Cinderella Story. Honolulu: Bess, 1997.Thomas, Joyce Carol. The Gospel Cinderella. Illus. David Diaz. New York: Amistad, 2004. Willard, Nancy. Cinderella’s Dress. Illus. Jane Dyer. New York: Blue Sky, 2003.

AmericaBuehner, Caralyn. Fanny’s Dream. Illus. Mark Buehner. New York: Dial, 1996. Burton, Elizabeth. Cinderfella and the Slam-Dunk Contest. Illus. Lynn Offerdahl. Boston: Branden, 1994.Compton, Joanne. Ashpet: An Appalachian Tale. Illus. Kenn Compton. New York: Holiday House, 1994. Trussell-Cullen, Alan. The Real Cinderella Rap. Illus. Philip Webb. New York: McGraw-Hill, 1994.Dwyer, Mindy. The Salmon Princess: An Alaskan Cinderella Story. Homer, AK: Paws IV, 2004. Hansard, Peter. Jig, Fig, and Mrs. Pig. Illus. Francesca Martin. Madison, WI: Demco Media, 1996.Hébert-Collins, Sheila. Cendrillon: A Cajun Cinderella. Illus. Patrick Soper. New York: Pelican, 1993. Hooks, William. Moss Gown. Illus. Donald Carrick. New York: Clarion, 1987.Hughes, Shirley. Ella’s Big Chance: A Jazz Age Cinderella. New York: Simon & Schuster, 2004. Johnston, Tony. Bigfoot Cinderrrrrella. Illus. James Warhola. New York: Putman & Grosset, 1998. Jukes, Mavis. Cinderella 2000. New York: Yearling, 2001.Ketteman, Helen. Bubba the Cowboy Prince. Illus. James Warhola. New York: Scholastic, 1997. Lattimore, Deborah Nourse. Cinderhazel: The Cinderella of Halloween. New York: Scholastic, 1997. Lowell, Susan. Cindy Ellen: A Wild Western Cinderella. Illus. Jane Manning. New York: Harper Collins, 2000. McLane, LuAnn. Redneck Cinderella. New York: Signet Eclipse, 2009.Minters, Frances. Cinder-Elly. Illus. G. Brian Karas. New York: Viking, 1994. Mitchell, Marianne. Joe Cinders. Illus. Bryan Langdo. New York: Henry Holt, 2002.

Cinderella Stories from Around the World




Native AmericanCohlene, Terri. Little Firefly: An Algonquin Legend. Illus. Charles Reasoner. Mahwah, NJ: Watermill, 1990.Cushing, Frank Hamilton. “The Poor Turkey Girl.” Zuni Folk Tales. New York: Forgotten Books, 2008. 43-49.Lock, Kath. Little Burnt-Face. Flinders Park, Australia: Era, 1995.Martin, Rafe. The Rough-Faced Girl. Illus. David Shannon. New York: G.P. Putnam’s Sons, 1992. Pollock, Penny. The Turkey Girl: A Zuni Cinderella Story. Illus. Ed Young. New York: Little & Brown, 1995. San Souci, Robert D. Sootface: An Ojibwa Cinderella Story. Illus. Daniel San Souci. New York: Doubleday, 1994.

Spanish AmericanHayes, Joe. “Little Gold Star.” The Day it Snowed Tortillas: Tales from Spanish New Mexico. Illus. Antonio Castro. Santa Fe, NM: Mariposa, 2003. 77-88.Hayes, Joe. Estrellita de Oro/Little Gold Star: A Cinderella Cuento. Illus. Gloria Osuna & Lucia Angela Perez. El Paso, TX: Cinco Puntos, 2000. San Souci, Robert D. Little Gold Star: A Spanish American Cinderella Tale. Illus. Sergio Martinez. New York: Harper Collins, 2000.San Souci, Robert D. The Little Seven-Colored Horses. Illus. Jan Thompson Dicks. San Francisco: Chronicle Books, 1995.

CambodiaCoburn, Jewell Reinhart. Angkat: The Cambodian Cinderella. Illus. Eddie Flotte. Walnut Creek, CA: Shen’s Books, 1998.

CanadaMarceau-Chenkie, Brittany. Naya the Inuit Cinderella. Illus. Shelley Brookes. New York: Raven Rock, 1999.Marineau, Michele. Cinderella. Illus. Mylene Pratt. Toronto: Tundra Books, 2007. Valgardson, W. D. Sarah and the People of Sand River. Illustrator: Ian Wallace. Toronto: Groundwood, 1996.

CaribbeanSan Souci, Robert D. Cinderillon: A Caribbean Cinderella. Illus. Brian Pinkney. New York: Simon & Schuster, 1998.

ChinaCasey, David. Yeh-Hsien: A Chinese Cinderella. Illus. Richard Holland. London, UK: Mantra Lingua, 2007.Coburn, Jewel Reinhart and Lee, Tzexa Cherta. Jouanah: A Hmong Cinderella. Illus. Anne Sibley O’Brien. Walnut Creek, CA: Shen’s Books, 1996. Louie, Ai-Ling. Yeh-Shen: A Cinderella Story from China. Illus. Ed Young. New York: Philomel Books, 1982.Wilson, Barbara Ker. Wishbones: A Folktale from China. Illus. Meilo So. New York: Bradbury, 1993. Yen Mah, Adeline. Chinese Cinderella: The True Story of an Unwanted Daughter. New York: Laurel Leaf, 2001.

CubaMonnar, Ana. Adelaida: A Cuban Cinderella. Illus. Nancy Michaud. New York: Readers are Leaders, 2008.

CzechoslovakiaHaviland, Virginia. The Twelve Months: Favorite Fairy Tales Told in Czechoslovakia. Boston: Little Brown, 1966.Martin, Rafe. The Twelve Months. Illus. Vladyana Langer Krykorka. New York: Fitzhenry and Whiteside, 2000.Schenk de Regniers, Beatrice. Little Sister and the Month Brothers. Illus. Margot Tomes. New York: Seabury, 1976. Sturges, Philemon and Vojtech, Anna. Marushka and the Month Brothers. Illus. Anna Vojtech. New York: North-South Books, 1996.

EgyptClimo, Shirley. The Egyptian Cinderella. Illus. Ruth Heller. New York: Harper Collins, 1989.

EnglandGreaves, Margaret. Tattercoats. Illus. Margaret Chamberlain. London: Frances Lincoln, 1990.Hogrogian, Nonny. Cinderella. New York: Greenwillow Books, 1981.Huck, Charlotte. Princess Furball. Illus. Anita Lobel. New York: Greenwillow Books, 1989. Jacobs, Joseph. Tattercoats. Illus. Margot Tomes. New York: Putnam’s Sons, 1989.Jungman, Ann. Cinderella and the Hot Air Balloon. Illus. Russell Ayto. London: Frances Lincoln, 1999. Kroll, Steven. Queen of May. Illus. Patience Brewster. New York: Holiday House, 1993. Lavreys, Debbie, illus. The Brothers Grimm’ Cinderella. New York: Clavis, 2010.Steel, Flora Ann. “Tattercoats.” English Fairytales. Illus. Arthur Rackham. Charleston, SC: Bibliobazaar, 2007.Ting, Renee. The Prince’s Diary. Illus. Elizabeth O. Dulemba. Walnut Creek, CA: Shen’s Books, 2005.

FranceMontresor, Beni. Cinderella: From the Opera by Gioacchino Rossini. New York: Alfred A. Knopf, 1965.Perrault, Charles. Cinderella, or the Little Glass Slipper. New York: Scribner, 1954.Retellings of Charles Perrault’s VersionAndreas, Evelyn. Cinderella. Illus. Ruth Ives. New York: Wonder Books, 1954.Askew, Amanda. Cinderella. Illus. Marsela Hajdinjak. London: QED Publishing, 2011.Boada, Francesc. Cinderella-Cenicienta. Illus. Monse Fransoy. San Francisco: Chronicle Books, 1997. Brown, Marcia. Cinderella. New York: Aladdin Paperbacks, 1982.Craft, Kinuko Y, illus. Cinderella. New York: Sea Star Books, 2000.Doherty, Berlie. Cinderella. Illus. Jane Ray. London: Walker Children’s Paperback, 2010.Ehrlich, Amy and Jeffers, Susan, illus. Cinderella. New York: Dial, 1985.

Cinderella Stories from Around the World (con’t)


Bibliography




BibliographyFrance (con’t)Eilenberg, Max. Cinderella. Illus. Niamh Sharkey. London: Walker. 2008.Evans, Charles Seddon. Cinderella. Illus. Arthur Rackham. New York: Alfred A. Knopf, 1993.Farjeon, Eleanor. Glass Slipper: A Shoe Fit for a Princess. New York: Wingate, 1946.Fowles, John. Cinderella. Illus. Sheila Beckett. Boston: Little Brown, 1974.Galdone, Paul, illus. Cinderella. New York: McGraw-Hill, 1978.Innocenti, Roberto, illus. Cinderella. Mankato, MN: Creative Education, 1983.Karlin, Barbara. Cinderella. Illus. James Marshall. New York: Little Brown, 1989. Knight, Hillary. Hilary Knight’s Cinderella. New York: Random House, 2001.Koopamns, Loek, illus. Cinderella. New York: North-South Books, 2002.Le Cain, Errol, illus. Cinderella, or the Little Glass Slipper. New York: Bradbury Press, 1973. McClintock, Barbara, illus. Cinderella. New York: Scholastic, 2005. Orihuela, Luz. Cenicienta/Cinderella. Illus. Maria Espluga. New York: Scholastic, 2003.Pacovska, Kveta, illus. Cinderella. Salzburg, Germany: Minedition, 2010.Roberts, Lyn. Cinderella: An Art Deco Love Story. Illus. David Roberts. New York: Harry N. Abrams, 2001.Rylant, Cynthia. Walt Disney’s Cinderella. Illus. Mary Blair. New York: Disney Press, 2007.Sanderson, Ruth, illus. Cinderella. New York: Little Brown, 2002. San José, Christine. Cinderella. Illus. Debrah Santini. Honesdale, PA: Boyd Mill, 1994.

GermanyGrimm, Jacob and Grimm, Wilhelm. “Aschenputtel.” Household Stories by the Brothers Grimm. New York: Macmillan, 1963.

GreeceManna, Anthony and Mitakidou, Soula. The Orphan: A Cinderella Story from Greece. Illus. Giselle Potter. New York: Schwartz & Wade, 2011.

HaitiSan Souci, Robert D. Cendrillon: A Caribbean Cinderella. New York: Simon & Schuster, 1998.Wolkstein, Diane. The Magic Orange Tree and Other Haitian Folktales. New York: Alfred A. Knopf, 1978.

IndiaBrucker, Meredith Babeaux. Anklet for a Princess: A Cinderella Story from India. Illus. Lila Mehta. Walnut Creek, CA: Shen’s Books, 2002.Mehta, Lila. The Enchanted Anklet for a Princess: A Cinderella Story from India. Illus. Neela Chhaniara. Toronto, ON: Lilmur, 1985.

IndonesiaSierra, Judy. The Gift of the Crocodile: A Cinderella Story. Illus. Reynold Ruffins. New York: Simon & Schuster, 2000.

IraqHickox, Rebecca. The Golden Sandal: A Middle Eastern Cinderella Story. Illus. Will Hillenbrand. New York: Holiday House, 1998.

IrelandClimo, Shirley. The Irish Cinderlad. Illus. Loretta Krupinski. New York: Harper Collins, 1996. Daly, Jude. Fair, Brown, and Trembling: An Irish Cinderella Story. New York: Farrar, Straus, & Giroux, 2000.Green, Ellin. Billy Beg and His Bull: An Irish Tale. Illus. Kimberly Bulcken Root. New York: Holiday House, 1994.Haviland, Virginia. Billy Beg and the Bull: Favorite Tales Told in Ireland. Boston: Little Brown, 1961.Lurie, Alison. Cap O’Rushes: Clever Gretchen and Other Forgotten Folktales. New York: Thomas Y. Crowell, 1980.Nimmo, Jenny. The Starlight Cloak. Illus. Justin Todd. New York: Dial, 1993.

ItalyDelamare, David. Cinderella. New York: Green Tiger, 1993. Sanderson, Ruth. Papa Gatto: An Italian Fairytale. Boston, MA: Little Brown, 1995.

JapanSchroeder, Alan. Lily and the Wooden Bowl. Illus. Yoriko Ito. New York: Doubleday, 1994.

KoreaAdams, Edward B. Korean Cinderella. Illus. Choi Dong Ho. Seoul: Seoul International, 1983.Climo, Shirley. The Korean Cinderella. Illus. Ruth Heller. New York: Harper Collins, 1993. Han, Oki S. and Plunkett, Stephanie. Kongi and Potgi: A Cinderella Story from Korea. New York: Dial, 1996. Jolley, Dan and Timmons, Anne. Pigling: A Cinderella Story (A Korean Tale). New York: Graphic Universe, 2009.

MexicoCoburn, Jewell Reinhart. Domitila: A Cinderella Tale from the Mexican Tradition. Illus. Connie McLennan. Walnut Creek, CA: Shen’s Books, 2000. DePaola, Tomie. Adelita: A Mexican Cinderella Story. New York: G.P. Putnam’s Sons, 2002.

NorwayHaviland, Virginia. The Princess on the Glass Hill: Favorite Fairy Tales Told in Norway. Boston: Little Brown, 1961.Martin, Claire. Boots and the Glass Mountain. Illus. Gennady Spirin. New York: Dial, 1992.

PersiaClimo, Shirley. The Persian Cinderella. Illus. Robert Florczak. New York: Harper Collins, 1999.

Philippinesde la Paz, Myrna J. Abadeha: The Philippine Cinderella. Walnut Creek, CA: Shen’s Books, 1991.




Bibliography


PolandJaffe, Nina. The Way Meat Loves Salt: A Cinderella Tale from the Jewish Tradition. Illus. Louisa August. New York: Henry Holt, 1998. Silverman, Erica. Raisel’s Riddle. Illus. Susan Gaber New York: Farrar, Straus, & Giroux, 1999.

RussiaBernhard, Emry and Bernhard, Durga. The Girl Who Wanted to Hunt: A Siberian Tale. New York: Holiday House, 1994. Grauer, Rita. Vasalisa and Her Magic Doll. New York: Philomel, 1994.Haviland, Virginia. Vasilisa the Beautiful: Favorite Fairy Tales Told from Russia. Boston: Little Brown, 1961.Mayer, Marianna. Baba Yaga and Vasilisa the Brave. Illus. Kinuko Y. Craft. New York: Harper Collins, 1994.Whitney, Thomas P. Vasilisa the Beautiful. Illus. Nonny Hogrogian. New York: Macmillan, 1970.Winthrop, Elizabeth. Vasilissa the Beautiful: A Russian Folktale. Illus. Alexander Koshkim. New York: Harper Collins, 1991. Zheleznova, Irina. Vasilisa the Beautiful: Russian Fairy Tales. Illus. Vladimir Minayev. Moscow: Progress Publishers, 1981.

ScotlandForsyth, Anne. Rashiecoat. Illus. Dianne Sutherland. Edinburgh, U.K.: Scottish Children’s Press, 1998. Haviland, Virginia. Assipattle and the Giant Sea Serpent: Favorite Tales Told in Scotland. Boston: Little Brown, 1963.

SpainGilani, Fawzia. Cinderella: An Islamic Tale. Illus. Shireen Adams. Leicestershire, UK: The Islamic Foundation, 2011.

ThailandPunpattanakul-Crouch, Wilai and Hamada, Cheryl. Kao and the Golden Fish: A Folktale from Thailand. Illus. Monica Liu. Chicago: Children’s Press, 1993.

VietnamClark, Ann Nolan and Kha, Dang Manh. In the Land of the Small Dragon. Illus. Tony Chen. New York: Viking Juvenile, 1979.Dyer Voung, Lynette. Brocaded Slipper and Other Vietnamese Tales. Illus. Vo-Dinh Mai. New York: Harper Collins, 1992.Graham, Gail B. The Jeweled Slipper: The Beggar in the Blanket and Other Vietnamese Tales. Illus. Brigitte Bryan. New York: Dial, 1970.Lum, Darrell. Golden Slipper: A Vietnamese Legend. Illus. Makiko Nagano. New York: Troll, 1994. Nguyen, Thi Nhuan. Tám Cám: The Vietnamese Cinderella Story. San Jose, CA: Gioi, 2000.Quoc, Minh. Tám Cám: The Ancient Vietnamese Cinderella Story. Illus. Mai Long. Manhattan Beach, CA: East West Discovery Press, 2006.

West AfricaOnyefulu, Obi. Chinye: A West African Folktale. Illus. Evie Safarewicz. New York: Viking, 1994. Phumla. Nomi and the Magic Fish: A Story from Africa. Illus. Carole Byard. New York: Doubleday, 1972.Steptoe, John. Mufaro’s Beautiful Daughters: An African Tale. New York: Lothrop, Lee & Shepard Books, 1987.

Multiple CountriesFleischman, Paul. Glass Slipper, Gold Sandal: A Worldwide Cinderella. Illus. Julie Paschkis. New York: Henry Holt, 2007. Gross, Ila Lane. Cinderella Tales from Around the World. New York: Learning through an Expanded Arts Program, 2001.

Alphabet BooksPerkal, Stephanie. Midnight: A Cinderella Alphabet. Illus. Spence Alston Bartsch. Walnut Creek, CA: Shen’s Books, 1997.

AnimalsBoelts, Maribeth. Dogerella. Illus. Donald Wu. New York: Random House, 2008.Edwards, Pamela Duncan. Dinorella: A Prehistoric Fairy Tale. Illus. Henry Cole. New York: Hyperion, 1997. Gill-Brown, Vanessa. Rufferella. Illus. Mandy Stanley. New York: Scholastic, 2000.Goode, Diane. Cinderella: The Dog and Her Little Glass Slipper. New York: Blue Sky Press, 2000.Hansard, Peter. Jig, Fig, and Mrs. Pig. Illus. Francesca Martin. Madison, WI: Demco Media, 1996.Hazen, Lynn E. Cinder Rabbit. Illus. Elyse Pastel. New York: Henry Holt, 2008.Paxton, Tom. Englebert the Elephant. Illus. Steven Kellogg. New York: Harper Collins, 1995.Perlman, Janet. Cinderella Penguin or the Little Glass Flipper. New York: Penguin Books, 1992.Pichon, Liz. Real Story of Cinderella and the Ugly Step Sisters. London: Little Tiger Press, 2010.Sathre, Vivian. Slender Ella and Her Fairy Hogfather. Illus. Sally Anne Lambert. New York: Yearling, 1999. Wegman, William. Cinderella. New York: Hyperion, 1993.

AnthologiesArbuthnot, May Hill and Taylor, Mark. Time for Old Magic. Glenview, IL: Scott Foresman. 1970.Brooke, William J. “The Fitting of the Slipper.” A Telling of the Tales. New York: Harper & Row, 1990.Chase, Richard. Grandfather Tales. Boston: Houghton-Mifflin, 1948.Cushing, Frank Hamilton. Zuni Folk Tales. New York: Forgotten Books, 2008. Dahl, Roald. Cinderella in Revolting Rhymes. Illus. Quentin Blake. New York: Knopf, 2002.Fairbairns, Zoe. Rapunzel’s Revenge: More Feminist Fairytales. Dublin: Attic, 1995.Grimm, Jacob and Grimm, Wilhelm. Household Stories by the Brothers Grimm. New York: Macmillan, 1963.Gross, Ila Lane. Cinderella Tales from Around the World. New York: Learning through an Expanded Arts Program, 2001. Hayes, Joe. The Day it Snowed Tortillas: Tales from Spanish New Mexico. Illus. Antonio Castro. Santa Fe, NM: Mariposa, 2003. Phillip, Neil. The Cinderella Story: The Origins and Variations of the Story Known as Cinderella. New York: Penguin, 1990.Shepard. Aaron. One Eye! Two Eyes! Three Eyes! A Very Grimm Fairy Tale. Illus. Gary Clement. New York: Atheneum, 2001.





BibliographyFractured Fairy Tales (con’t)Hazen, Lynn E. Cinder Rabbit. Illus. Elyse Pastel. New York: Henry Holt, 2008.Jackson, Ellen. Cinder Edna. Illus. Kevin O’Malley. New York: Lothrop, Lee & Shepard Books, 1994. Johnston, Tony. Bigfoot Cinderrrrrella. Illus. James Warhola. New York: Putman & Grosset Group, 1998.Kavanagh, Linda. “The Ugly Sisters Strike Back.” Zoe Fairbairns (Ed.) Rapunzel’s Revenge: More Feminist Fairytales. Dublin: Attic, 1995.Ketteman, Helen. Bubba the Cowboy Prince. Illus. James Warhola. New York: Scholastic, 1997. Lattimore, Deborah Nourse. Cinderhazel: The Cinderella of Halloween. New York: Scholastic, 1997. Lowell, Susan. Cindy Ellen: A Wild Western Cinderella. Illus. Jane Manning. New York: Harper Collins, 2000. Minters, Frances. Cinder-Elly. Illus. G. Brian Karas. New York: Viking, 1994. Mitchell, Marianne. Joe Cinders. Illus. Bryan Langdo. New York: Henry Holt, 2002. Myers, Bernice. Sidney Rella and the Glass Sneaker. New York: Macmillan, 1985. Paxton, Tom. Englebert the Elephant. Illus. Steven Kellogg. New York: Harper Collins, 1995.Perlman, Janet. Cinderella Penguin or the Little Glass Flipper. New York: Penguin Books, 1992.San Souci, Robert D. Cinderella Skeleton. Illus. David Catrow. New York: Harcourt, 2000. Sitomer, Alan Lawrence. Cinder-Smella: A Timeless Tale of Stinky Feet. Illus. Allison Bair. Huntington, MD: eReadia, 2010.Stegman-Bourgeois, Karen M. Trollerella. Illus. Ethan Long. New York: Holiday House, 2006.Takayama, Sandi. Sumorella: A Hawai’i Cinderella Story. Illus. Esther Szegedy. Honolulu: Bess, 1997.Thaler, Mike. Cinderella Bigfoot. Illus. Jared D. Lee. New York: Cartwheel, 1997.Ting, Renee. The Prince’s Diary. Illus. Elizabeth O. Dulemba. Walnut Creek, CA: Shen’s Books, 2005. Yorinks, Arthur. Ugh! Illus. Richard Egielski. New York: Micael di Capua Books, 1990.

Graphic NovelsBracken, Beth. Cinderella: The Graphic Novel. Illus. Jeffery Stewart Timmins. Mankato, MN: Stone Arch, 2009.Jolley, Dan and Timmons, Anne. Pigling: A Cinderella Story (A Korean Tale). New York: Graphic Universe, 2009.

Interactive BooksGallo, Tina. Cinderella. Illus. Kimberly Scott. New York: Little Simon, 2011.Morris, Ann. The Cinderella Rebus Book. Illus. Ljiljana Rylands. London: Orchard Books, 1989.Tucker, Stephen. Cinderella. Illus. Nick Sharratt. London: Macmillan, 2011.

NovelsDokey, Cameron. Before Midnight: A Retelling of Cinderella. New York: Simon & Schuster, 2007.Ensor, Barbara. Cinderella (As if You Didn’t Already Know the Story). New York: Schwartz & Wade, 2006.Giff, Patricia Riley. Glass Slipper for Rosie. New York: Puffin, 1998.Haddix, Margaret Peterson. Just Ella. New York: Simon & Schuster, 1999.Jukes, Mavis. Cinderella 2000. New York: Yearling, 2001.


Anthologies (con’t)Sherman, Joseph. Rachel the Clever and Other Jewish Folktales. Atlanta, GA: August House, 1993.Sierra, Judy. Cinderella. Santa Barbara, CA: Oryx, 1992.Steel, Flora Ann. English Fairytales. Illus. Arthur Rackham. Charleston, SC: Bibliobazaar, 2007.Goss, Linda and Barnes, Marian. Talk That Talk: An Anthology of African-American Storytelling. New York: Simon & Schuster, 1989.

Bilingual BooksBoada, Francesc. Cinderella-Cenicienta. Illus. Monse Fransoy San Francisco: Chronicle Books, 1997. (English/Spanish)Casey, David. Yeh-Hsien: A Chinese Cinderella. Illus. Richard Holland. London, UK: Mantra Lingua, 2007. (English/Russian)Hayes, Joe. Estrellita de Oro/Little Gold Star: A Cinderella Cuento. Illus. Gloria Osuna & Lucia Angela Perez. El Paso, TX: Cinco Puntos, 2000. (English/Spanish)Hébert-Collins, Sheila. Cendrillon: A Cajun Cinderella. Illus. Patrick Soper. New York: Pelican, 1998. (English with French)Orihuela, Luz. Cenicienta/Cinderella. Illus. Maria Espluga. New York: Scholastic, 2003. (English/Spanish)Quoc, Minh. Tám Cám: The Ancient Vietnamese Cinderella Story. Illus. Mai Long. Manhattan Beach, CA: East West Discovery Press, 2006. (English/Vietnamese)

CinderfellaBurton, Elizabeth. Cinderfella and the Slam-Dunk Contest. Illus. Lynn Offerdahl. Boston: Branden, 1994. Cole, Babette. Prince Cinders. New York: Putnam, 1987. Green, Ellin. Billy Beg and His Bull: An Irish Tale. Illus. Kimberly Bulcken Root. New York: Holiday House, 1994. Haviland, Virginia. Billy Beg and the Bull: Favorite Tales Told in Ireland. Boston: Little Brown, 1961.Ketteman, Helen. Bubba the Cowboy Prince. Illus. James Warhola. New York: Scholastic, 1997. Martin, Claire. Boots and the Glass Mountain. Illus. Gennady Spirin. New York: Dial, 1992. Mitchell, Marianne. Joe Cinders. Illus. Bryan Langdo. New York: Henry Holt, 2002. Myers, Bernice. Sidney Rella and the Glass Sneaker. New York: Macmillan, 1985. Osmond, Alan and Osmond, Suzanne. If the Shoe Fits. Illustrator: Thomas Aarrestad. Nashville, TN: Ideal Children’s Books, 1998.Ting, Renee. The Prince’s Diary. Illustrator: Elizabeth O. Dulemba. Walnut Creek, CA: hen’s Books, 2005. Yorinks, Arthur. Ugh! Illus. Richard Egielski. New York: Micael di Capua Books, 1990.

Fractured Fairy TalesBoelts, Maribeth. Dogerella. Illus. Donald Wu. New York: Random House, 2008.Burton, Elizabeth. Cinderfella and the Slam-Dunk Contest. Illus. Lynn Offerdahl. Boston: Branden, 1994. Cole, Babette. Prince Cinders. New York: Putnam, 1987. Durant, Alan. Cinderella: The Fairytale Files. Illus. Ross Collins. London: Walker, 2008. Edwards, Pamela Duncan. Dinorella: A Prehistoric Fairy Tale. Illus. Henry Cole. New York: Hyperion, 1997. Gill-Brown, Vanessa. Rufferella. Illus. Mandy Stanley. New York: Scholastic, 2000.



Bibliography



Novels (con’t)Levine, Gail Carson. Ella Enchanted. New York: Harper Collins, 1997.Levine, Gail Carson. Cinderellis and the Glass Hill. New York: Harper Collins, 2000.Loggia, Wendy. Ever After: A Cinderella Story. New York: Random House, 1998.Mah, Adeline Yen. Chinese Cinderella: The True Story of an Unwanted Daughter. New York: Laurel Leaf, 2001.McLane, LuAnn. Redneck Cinderella. New York: Signet Eclipse, 2009. Murphy, Shirley Rousseau. Silver Woven in My Hair. London: Atheneum, 1977.Napoli, Donna Jo. Bound. New York: Atheneum, 2004.Sathre, Vivian. Slender Ella and Her Fairy Hogfather. Illus. Sally Anne Lambert. New York: Yearling, 1999. Stanley, Diane. Bella at Midnight. Illus. Bagram Ibatoulline. New York: Harper Collins, 2006.Thomas, Joyce Carol. When the Nightingale Sings. New York: Harper Collins, 1992.

Poetry and VerseDahl, Roald. Cinderella in Revolting Rhymes. Illus. Quentin Blake. New York: Knopf, 2002.Ellwand, David. Cinderlilly: A Floral Fairy Tale. Illus. Christine Togg. Cambridge, MA: Candlewick, 2002.Minters, Frances. Cinder-Elly. Illus. G. Brian Karas. New York: Viking, 1994. San Souci, Robert D. Cinderella Skeleton. Illus. David Catrow. New York: Harcourt, 2000. Singer, Marilyn. Mirror, Mirror. Illus. Josée Masse. New York: Penguin, 2010. Trussell-Cullen, Alan. The Real Cinderella. Illus. Philip Webb. New York: Macmillan, 1994. Tucker, Stephen. Cinderella. Illus. Nick Sharratt. London: Macmillan, 2011.Whipple, Laura. If the Shoe Fits: Voices from Cinderella. Illus. Laura Beingessner. New York: Margaret K. McElderry, 2002.

Point of ViewGraham, Amanda. Cinderella, and Alex and the Glass Slipper. Flinders, Australia: Keystone, 1991. Granowsky, Alvin. Cinderella and That Awful Cinderella. Austin, TX: Steck-Vaughn, 1993.Kensington, Mary Jane and Moore, Marian. Dear Cinderella. Illus. Julie Olson. London: Orchard Books, 2011.Meddaugh, Susan. Cinderella’s Rat. New York: Houghton Mifflin, 1997. Shaskan, Trisha Speed. Seriously, Cinderella is SO Annoying!: The Story of Cinderella as Told by the Wicked Stepmother. Illus. Gerald Guerlais. Mankato, MN: Picture Window Books, 2011.Shorto, Russell. Cinderella: The Untold Story. Illus. T. Lewis. New York: Birch Lane, 1990.Willard, Nancy. Cinderella’s Dress. Illus. Jane Dyer. New York: Blue Sky Press, 2003.

Professional ResourcesBettelheim, Bruno. The Uses of Enchantment: The Meaning of the Importance of Fairy Tales. New York: Vintage Books, 1976.Tatar, Maria. The Hard Facts of the Grimm’s Fairy Tales. Princeton, NJ: Princeton University Press, 2003.Yolen, Jane. Touch Magic: Fantasy, Faerie, and Folklore in the Literature of Childhood. Little Rock, AR: August House, 2000.



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