The Great Ball Game

by Joseph Bruchac

ill by Susan L. Roth

A. BIBLIOGRAPHY

Bruchac, Joseph. 1994. THE GREAT BALLGAME. Ill. by Susan L. Roth. New York: Dial Books. ISBN 0803715390.

B. PLOT SUMMARY

In this simple yet delightful story from long ago, the animals and birds are engaged in an argument about which group is "better". So they decide to play a ball game. The team who scores first is the winner. They divide into two groups - those with teeth and those who fly. But bats have both and the little bat wants to know where he fits in this plan. The animals eventually accept him and it's a good thing. In the end, it is the bat who saves the day for the animals and leads them to victory. The consequence for the birds? They must fly south for six months for the winter.

C. CRITICAL ANALYSIS

At first glance, the reader would think this is an obvious Native American story by the title, but as the reader begins reading, there is nothing inside the story that indicates it is Native American. The illustrations are torn paper and the characters are all animals called by their animals names. The pictures really do not add anything to the telling of the story. The sentences are simple, as is the plot line, but it is easy to follow and enjoyable.

At the beginning, author Joseph Bruchac does provide information about a ball game that Native Americans did play. This is the only real solid evidence that it is a Native American tale.

D. REVIEW EXCERPTS

Publishers Weekly: “This adaptation of a popular Native American story pits Animals against Birds in a contest to settle an all-too-human question: Who's better? And, according to Muskogee legend, this resolution explains why bats are categorized as animals and why birds fly south for the winter.”

School Library Journal: “In this traditional Muskogee story, the birds and the animals quarrel over which group is better, those with wings or those with teeth. The argument threatens to turn into all-out war, so the creatures decide to settle it by playing a ball game instead. When the game (which resembles lacrosse) starts, no one wants little, weak Bat to play on their side. But in the end it is Bat-with both teeth and wings-who wins the match for the animals. As a result the birds are banished to the south each winter. This porquoi tale is told in clean, spare sentences with the emphasis on action and character.”

E. CONNECTIONS

Visit http://www.josephbruchac.com/ for more information on the author and his publications.

Rain Is Not My Indian Name

by Cynthia Leitich Smith

A. BIBLIOGRAPHY

Smith, Cynthia Leitich. RAIN IS NOT MY INDIAN NAME. 2001. New York: HarperCollins. ISBN 0688173977.

B. PLOT SUMMARY

The main character, 14-year old Cassidy Rain Berghoff lives in small-town Kansas and is of both Native American and Caucasian heritage. She is a pretty typical teen in many aspects. However, in having to deal with the sudden and tragic death of her best friend/almost boyfriend, turns to her Native American ancestry. To complicate things further, Rain's mother died not too long before this story begins. Rain is explores what it means to be part Native American, what is means to grieve, what it means to live and what it means to enjoy life once again. As she moves into this phase, she takes a position as a staff photographer for the local newspaper. Her assignment: cover the events that take place at the local camp for outsiders. The camp just happens to be called Indian Camp and is owned by her Aunt Georgia.

C. CRITICAL ANALYSIS

There are some obvious cultural markers - beginning with the title as well as references to skin color, hair color, etc. Rain recalls how her mother often refered to her "Kansas-coloring" and that she can "look out the window and get a tan." There is also mention of some events, a pow-wow that Rain and Galen attendeded in Oklahoma City and the Indian tacos they eat. However, the cultural markers are all part of the main story and not to the extreme; they don't interfere with the story, they add to the authenticity of it. Author Cynthia Leitich Smith helps create a story that is both multicultural and authentic - as she is a mixed blook Muscogee Creek Member herself.

As a novel, there are not any illustrations and therefore, no cultural markers of that type, only in the text. It is surprising that there is no Native American language anywhere in the story since this is about a teen coming to grips with her heritage and who she is.

D. REVIEW EXCERPTS

Publishers Weekly: "Multiple plot lines and nonlinear storytelling may make it difficult to enter Smith's (Jingle Dancer) complex novel, but the warmth and texture of the writing eventually serve as ample reward for readers. Some of Smith's devices such as opening each chapter with a snippet from Rain's journal add depth and clarify Rain's relationships for readers, although other elements (the detailing of song lyrics playing in the background, for instance) seem stilted. Even so, readers will feel the affection of Rain's loose-knit family and admire the way that they, like the author with the audience, allow Rain to draw her own conclusions about who she is and what her heritage means to her."

School Library Journal: "There is a surprising amount of humor in this tender novel. It is one of the best portrayals around of kids whose heritage is mixed but still very important in their lives. It's Rain's story and she cannot be reduced to simple labels. A wonderful novel of a present-day teen and her "patchwork tribe."

E. CONNECTIONS

Another publication by Cynthia Leitich Smith:

Smith, Cynthia Leitich. 2000. JINGLE DANCER. Ill. Wright, Cornelius Van and Hu, Ying-Hwa. New York: Harper Collins. ISBN 068816241X.

You can also visit Ms. Smith at www.cynthialeitichsmith.com/CLS/cyn_books/rain/rainisnotmyindianname.html

Crossing Bok Chitto

A Choctaw Tale of Friendship

by Tim Tingle

illustrations by Jeanne Rorex Bridges

A. BIBLIOGRAPHY
Tingle, Tim. CROSSING BOK CHITTO A CHOCTAW TALE OF FRIENDSHIP. ill. Jeanne Rorex Bridges. 2006. El Paso, Texas: Cinco Puntos Press. ISBN 0938317776

B. PLOT SUMMARY

Set in the 1800's in Mississippi, Crossing Bok Chitto is the story of two young friends, one a Choctaw and the other an African American slave. The river Bok Chitto separated the land between the Choctaw Native Americans and the plantation/slave owners. A young Choctaw girl, Martha Tom, is sent to pick blackberries for a wedding ceremony. She doesn't find any on her side so she does what she's not supposed to and crosses the river. She hears preaching and voices and investigates. However, she loses her way from the river and needs the assistance of Little Mo to return to her side of the river. Thus begins a long-time friendship. When they are older, Martha Tom returns the kindness by helping Little Mo's family cross Bok Chitto to safety and freedom.

C. CRITICAL ANALYSIS
Filled with multicultural markers, author Tim Tingle hits a homerun in his attempt at writing an authentic, truly multicultural book. From the very first page, the reader knows who the story is about and that it believable. The main character, Martha Tom, is told by her mother, "...the sun has been up for two hours," - looking to nature for the time. As the story progresses, Martha Tom is lost in the woods and hears hundreds of slaves in a secret gathering singing "We are bound for the Promised Land!" At another point, Martha Tom and her friend Little Mo, hear the sounds of the wedding song being chanted by Martha Tom's people,

"Way, hey ya he ya Way, hey ya hey ya

You a hey you ay You a hey you ay

A hey ya a hey ya! A hey ya a hey ya!"

This song is still chanted by the Choctaw in Mississippi and Oklahoma even today. As the men chant the song, the women, dressed in all white, would stomp and dance to the rhythm.

Illustrator Bridges does a great job with her pictures of both the landscape and the characters. The Choctaw are depicted as having medium brown-colored skin with dark eyes and straight, dark hair. The Native Americans has high cheekbones and very chiseled, strong chins and faces.They also wear shoes that look similar to mocassins. The African Americans are depicted with very dark skin, curlydark hair and typical clothing for that time period. The slave owners are shown as white with various hair colorings, typical but better made period clothing as well as guns, dogs and a large home.

After the story there is a three-page section with two articles about the modern Choctaw and Choctaw Storytelling. These articles are insightful and informative.

The illustrations by award-winning artist (and Cherokee descendant) Jeanne Rorex Bridges do just as fabulous a job in creating a setting and mood with her pictures as Tingle does with his words.

D. REVIEW EXCERPTS
School Library Journal: "Dramatic, quiet, and warming, this is a story of friendship across cultures .... Tingle is a performing storyteller, and his text has the rhythm and grace of that oral tradition. It will be easily and effectively read aloud. The paintings are dark and solemn, and the artist has done a wonderful job of depicting all of the characters as individuals, with many of them looking out of the page right at readers. The layout is well designed for groups as the images are large and easily seen from a distance. There is a note on modern Choctaw culture, and one on the development of this particular work. This is a lovely story, beautifully illustrated..."

Booklist: In a picture book that highlights rarely discussed intersections between Native Americans in the South and African Americans in bondage, a noted Choctaw storyteller and Cherokee artist join forces with stirring results."

E. CONNECTIONS

This story is perfect as a read aloud and as the children listen, let them draw what they hear and imagine.

Readers can also visit http://www.choctawstoryteller.com/ for more information on the author, Choctaw and storytelling.

Too Many Tamales

by Gary Soto

illustrated by Ed Martinez

A. BIBLIOGRAPHY
Soto, Gary. 1993. TOO MANY TAMALES. Ill. Ed Martinez. ISBN 0399221468.


B. SUMMARY
Wanting to be "grown-up", Maria slips her mother's wedding on her thumb as she helps her mother prepare tamales for the Christmas celebration. It's not until much later, after all the extended family has arrived, that Maria realizes she lost the ring in the masa. In an attempt to right the wrong she committed, Maria enlists the help of her cousins and they begin eating all 24 tamales only to realize the ring isn't there. Maria goes to confess to her mother and sees the ring on her mom's hand. She then shares that all the tamales have been eaten, the family laughs and goes to the kitchen to prepare another batch of tamales.


C. CRITICAL ANALYSIS
In Gary Soto's delightful holiday story, TOO MANY TAMALES, the main character, Maria, is a typical little girl who wants to be all grown-up. Soto tells the story simply, without too many details to bog it down. Ed Martinez' illustrations assist in the story-telling by the expressive, and humorous, faces on the children and adults in the story. The story takes place entirely in Maria's home, filled with family for the holiday. From the illustrations, it is obvious that the family is Hispanic but that is not the focus of the story, just an added detail.

As far as cultural markers go, there are very few in this funny story. The only nod to the family being Hispanic is from the illustrations of the characters with dark hair and, obviously, the tamales. There is no mention of a different language or other customs associated with Christmas. In fact, the style of clothing and the language is decidedly American. In fact, change the choice of food and this story could easily be Italian, Middle-Eastern or even Asian.


D. REVIEW EXCERPTS
Kirkus Reviews: "Soto's simple text is charmingly direct; he skips explanations, letting characters reveal themselves by what they do. Martinez's realistic, nicely composed paintings are glowing with light and life, while he reinforces the story with particularly expressive faces and gestures. This one should become a staple on the holiday menu. "

Publishers Weekly: "...Soto, noted for such fiction as Baseball in April , confers some pleasing touches--a tear on Maria's finger resembles a diamond; he allows the celebrants a Hispanic identity without making it the main focus of the text..."

School Library Journal: "A warm family story that combines glowing art with a well-written text to tell of a girl's dilemma."


E. CONNECTIONS
Other books by Gary Soto:
Soto, Gary. 2000. BASEBALL IN APRIL. New York: Harcourt Children's Books.
ISBN 0152025731
Soto, Gary. 1990. A SUMMER LIFE. New York: Laurel Leaf. ISBN 0874515238.
Soto, Gary. 2004. CHATO AND THE PARTY ANIMALS. Ill. Susan Guevara. New York: Puffin. ISBN 0142400327.

Tomas and the Library Lady

by Pat Mora

illustrated by Raul Colon

A. BIBLIOGRAPHY

Mora, Pat. 199. TOMAS AND THE LIBRARY LADY. Ill. Raul Colon. New York: Knopf. ISBN 0679804013.

B. SUMMARY

Tomas, a 3rd generation member of a migrant worker family, travels from Texas to Iowa with his parents and grandfather following the crops for seasonal work. TOMAS AND THE LIBRARY LADY tells the story of a young boy who, at his Papa' Grande's urging, goes to a public library in Iowa where he meets "the Library Lady". With her encouragement and help, Tomas finds not just books but entire new worlds. When the seasons change and it is time to return to Texas, Tomas is sad to leave his library friend but she gives him a book to take with him. Beyond the book, the Library Lady gives Tomas a love of books and reading that will last a lifetime.

C. CRITICAL ANALYSIS

This books is based on writer Tomas Rivera's life as a small Mexican American boy in a migrant family. Author Pat Mora paints a rosy picture of migrant life - but it's not always that easy. The family is uprooted every six months to follow the crops and work to make a living. It is evident the family has little or limited money as they travel in a "rusty old car" and must go to the local dump to "look for pieces of iron to sell." Tomas and his brother Enrique even have a ball created from an old teddy that his mom has sewn for them.

Various cultural markers are evident: the most obvious is the Spanish that is interspersed throughtout the story. The Spanish phrases flow naturally into the English for the reader so it is not distracting: "Es un tiempo posado," Papa' Grande began. ""Once upon a time..." Tomas refers to his parents as Mama', Papa' and his grandfather as Papa' Grande. The boys names are traditional Hispanic names: Tomas and Enrique. Throught the entire story it is evident that family plays an important role in young Tomas' life.

Illustrator Raul Colon's drawings add to the enjoyment of this story. His use of watercolors, pencils and etching produce pictures that draw the reader in. Other cultural markers noted in the illustrations are the family's brown skin, dark hair and dark eye color whereas the librarian has light skin and hair tone. The illustrator does a good job of depicting the various places where Tomas travels in his books - lands filled with dinosaurs, cowboys and indians - a boy's dream come true.

The author provides a note at the end detailing who the real Tomas was and how this book was based upon and inspired the life of Tomas Rivera.

D. REVIEW EXCERPTS

Booklist: "From the immigrant slums of New York City to the fields of California, it’s an elemental American experience: the uprooted child who finds a home in the library. Mora’s story is based on a true incident in the life of the famous writer Tomas Rivera, the son of migrant workers who became an education leader and university president. Far from his home in Texas, the small boy is working with his family picking corn in Iowa."

Kirkus: "A charming, true story about the encounter between the boy who would become chancellor at the University of California at Riverside and a librarian in Iowa."

School Library Journal: "Colon's earthy, sun-warmed colors, textured with swirling lines, add life to this biographical fragment and help portray Tomas's reading adventures in appealing ways. Stack this up with Sarah Stewart and David Small's The Library (Farrar, 1995) and Suzanne Williams and Steven Kellogg's Library Lil (Dial, 1997) to demonstrate the impact librarians can have on youngsters."

E. CONNECTIONS

Other books by Pat Mora:

Mora, Pat. A BIRTHDAY BASKET FOR TIA. ISBN 0689813287

Mora, Pat. CONFETTI: POEMS PARA NINOS/POEMS FOR CHILDREN.

ISBN 9781584302704

Mora, Pat. THE BAKERY LADY/ LA SENORA DE LA PANADERIA. ISBN 978155885340

Mora, Pat. PABLO'S TREE. ISBN 0027674010.

Mora, Pat. YUM! MMMM! QUE RICOL: AMERICAS SPROUTINGS. ISBN 9781584302711

Esperanza Rising

by Pam Munoz Ryan

A. BIBLIOGRAPHY

Ryan, Pam Munoz. 2000. ESPERANZA RISING. New York: Scholastic. ISBN 0439120411

B. SUMMARY

With the sudden and tragic death of her father, Esperanza is forced to leave behind the fun and frivolity of her family's ranch in Mexico and begin a new life as a migrant worker in California during the Great Depression. Esperanza endures her new life reluctantly but bravely with her mother and other extended family members. When her mother falls ill, Esperanza musters the courage and strength to go on - because her life and that of her mother depends on it. Faced with adversity and challenge, Esperanze learns what is most important in life to her and how to be strong and independent.

C. CRITICAL ANALYSIS

Based on the life of author Pam Munoz Ryan's grandmother, the historical fiction work Esperanza Rising is set in depression-era 1930's California. Very respectfully and realistically, Munoz deals with racial issues such as immigration, discrimination, segregation and family.

The most obvious cultural marker is the title of each chapter, written in both English and Spanish. The titles, interestingly, are not about the upcoming events in the story, they are fruits from the various seasons that Esperanza experiences. For example, two of the chapters are titled Las Guayabas (guavas) and Las Ciruelas (plums). Miguel often refers to Esperanza as mi reina or my queen. Mija (a shortened form of mi hija) is a term of endearment that is used by Esperanza's mom for her. Another example is the word vaqueros, Spanish for the cowboys or ranch workers. Throughout the entire work, Spanish words are dropped in intermittently, not in a way that detracts but actually adds to the story being told.

Ryan demonstrates the prejudice that took place in the campesinos - camps - without preaching or being overly dramatic with little things such as noting that the Mexican camps did not have hot water but the workers from Oklahoma did. At one point Miguel shares with Esperanza that "Americans see us as one big, brown group who are good for only manual labor." At various times the story is infused with instances such as these that add to the authenticity of the story.

Other cultural markers noted were foods more traditional in Mexican homes such as papaya, coconut, lime, tortillas, cantaloupe, chorizo and cafe'. The construction of the little shrine to Our Lady of Guadalupe alludes to the family's Catholic faith. Also references to skin color can be noted such as when the doctor comes to check on Esperanza's mother. He is "...American, light and blond," as opposed to the main characters who have a browner complexion.

At the end of the book is an extended note from the author explaining the background of the book and from where she received her inspiration.

D. REVIEW EXCERPTS

Booklist: "Ryan writes movingly in clear, poetic language that children will sink into, and the books offers excellent opportunities for discussion and curriculum support."

School Library Journal: "Ryan uses the experiences of her own Mexican grandmother as the basis for this compelling story of immigration and assimilation, not only to a new country but also into a different social class."

AWARDS:

2002 Pura Belpre Award Winner

2001 ALA Best Books for Young Adults

2000 Smithsonian Notable Books for Children

2000 Publishers Weekly Best Book of the Year

E. CONNECTIONS

Other books by Pam Munoz Ryan include:

Ryan, Pam Munoz. 1999. RIDING FREEDOM. ISBN 0439087961

Ryan, Pam Munoz. 2005. BECOMING NAOMI LEON. ISBN 0439269970

Ryan, Pam Munoz. 2005. MICE AND BEANS. ISBN 0439701368

Ryan, Pam Munoz. 2007. PAINT THE WIND. ISBN 04397873622.

For those who may want more information about Ms. Ryan, visit her website at http://www.pammunozryan.com

Alvin Ailey
by Andrea Davis Pinkney
illustrated by Brian Pinkney

A. BIBLIOGRAPHY Pinkney, Andrea Davis. 1993. ALVIN AILEY. Ill. by Brian Pinkney. New York: Hyperion Paperbacks for Children. ISBN 078681077.

B. PLOT SUMMARY This historical fiction selection starts when Alvin Ailey is a young child in Navasota, Texas. The groundwork of music and dance is laid for Alvin's very bright future. The story chronicles his moving to Los Angeles, studying dance there at the Lester Horton Dance Theater School, moving to New York and eventually forming his own award winning dance company, the Alvin Ailey American Dance Theater.

C. CRITICAL ANALYSIS The amazingly talented husband and wife team of Brian Pinkney and Andrea Davis Pinkney have combined their talents for the first time in this book for ages 5-9 years. The author's note at the beginning calls this book, "a biographical narrative history" - thus enabling it to be in several different genres.

Mrs. Pinkney begins the story with Alvin's childhood in Navasota, Texas. Her description of Alvin's church, the music and songs that are performed are all clear cultural markers. For example the song lyrics in the story are "Rocka-my-soul in the bosom of Abraham...". A soulful gospel song popular in African American churches in the middle of the 20th century. Her style of writing is one that is easy to read yet filled with a great amount of detail that adds to the story.

As far as specific cultural markers, Mr. Pinkney does use many in his scratchboard and pastel drawings. The characters, although all of the same shade of skin, are typical African American body types. They also reflect the culture with their hairstyles, clothing and dance movements. Along with the clothing and hairstyles, the various modes of transportation are all indicative of the 1950's.

The overall general environment of the book, with both the text and the illustrations, are like Alvin Ailey's life: upbeat, positive and inspirational to children of all cultures.

D. REVIEW EXCERPTS Booklist: "This handsome picture-book biography pays tribute to modern dancer Alvin Ailey, who's best known for interpreting African American culture through his dancing and choreography."

Kirkus Reviews: "...this attractive introduction, based on interviews with many who knew Ailey, will leave readers hungry for more."

School Library Journal: "Brian Pinkney's marvelously detailed scratchboard drawings are tinted with pastels to show the sweep and flow of dancers caught in the act of leaping, twirling and soaring through the air....the book is both informative and inspiring and will make an excellent addition to most collections."

E. CONNECTIONS

After reading this selection, discuss with students various types of dance and dancers. Have students do one of the following: write a poem about dance and how it makes them feel; create an original dance to their favorite song; or read about another famous American dancer and write a paragraph comparing and contrasting them to share with the class.




Miracle’s Boys
by Jacqueline Woodson

A. BIOGRAPHY
Woodson, Jacqueline. 2000. MIRACLE’S BOYS. New York: G.P. Putnam’s Sons. ISBN 0399231137.

B. PLOT SUMMARY
Set in New York city, MIRACLE’S BOYS is the story of three brothers left to care for themselves and each other after the tragic death of their mother. The story is spun from the perspective of the youngest brother, Lafayette, who is only 13 years old. The middle brother, Charlie, is in trouble and has just recently returned from time in juvenile detention – changed from the brother who left. The oldest, Ty’ree, sacrificing his scholarship to MIT, takes charge of his younger brothers to raise them and keep the family together. All three boys feel guiltty about things in each of their lives which, in turn, influences each boy and the decisions they make. The turning point for this little family is when Charlie becomes involved in a gang he looks to his brothers for help.

C. CRITICAL ANALYSIS
Woodson’s novel, winner of the Coretta Scott King Award, is the story of three brothers trying to survive and stay together in the big city after the death of their diabetic mother. Although this is a work of fiction, the setting, plot and theme are all very realistic – as are the characters themselves. Told from the point of view of Lafayette, the reader gets a much more detailed picture of his life than his brother’s. The reader is privy to Lafayette’s thoughts and feelings about his guilt regarding his mother’s death, his feelings towards “Newcharlie” and the situations they find themselves in.

With the story taking place in New York, there are many cultural markers including means of transportation, descriptions of Central Park, gangs and violence, and the urban setting. There are also speech markers, for example, when Charlie says to his older brother, “I ain’t do nothing, T.” His speech patterns, as well as Lafayette’s are those of children raised in poverty.

Despite the problems the boys must face, they ultimately face them together, as a family should. Although it is not explicitly stated, after the boys sit on the stoop together and talk, the reader is left with the impression that everything is going to turn out just fine for them.

D. REVIEW EXCERPTS
Children’s Literature: “There is a lot of pain in this book, but Woodson delivers it like an ode, strung together from lyrical images that reach inside readers as if to remind them that there is a beauty in grief. Miracle is dead, but she's left pictures "chiseled into" her boys and won't be forgotten because "she's too deep inside of us." And in the end when they hang on to each other, the love she's created pulls them together.”

Publisher’s Weekly: “Gang violence and urban poverty play an integral part in this novel, but what readers will remember most is the brothers' deep-rooted affection for one another. An intelligently wrought, thought-provoking story.”

School Library Journal: “The narrative is told through dialogue and Lafayette's introspections so there is not a lot of action, but readers should find this story of tough, self-sufficient young men to be powerful and engaging.”


E. CONNECTIONS
Readers of Miracle’s Boys might enjoy these other books by Jacqueline Woodson:
From the Notebooks of Melanin Sun, ISBN 0590458817
Hush, ISBN 0142406007
Locomotion, ISBN 0142401498

John Henry

by Julius Lester

illustrated by Jerry Pinkney

A. BIBLIOGRAPHY

Lester, Julius. 1994. JOHN HENRY. Ill. by Jerry Pinkney. New York.

Dial Books. ISBN 0803716060

B: PLOT SUMMARY

There are several versions of this famous African American tale about the hammer-wielding John Henry, including this Caldecott Honor version by Julius Lester. John Henry was born with amazing strength and quickly outgrew everything, including his home. He sets out for the world and is soon pitted against a steam drill. John Henry decides to race the drill to see who could dig through the mountain first. Although John Henry wins the contest,"he had hammered so hard and so fast and so long that his big heart had burst", he dies. However, this story does not end on a sad note, for the bystanders learn that "dying ain't important.... What matters is how well you do your living."

C. CRITICAL ANALYSIS

John Henry, written by Julius Lester and water-color illustrated by Jerry Pinkney, was given the distinction of being a Caldecott Honor Award designee in 1990. This is a retelling of an African American tale and begins with the birth of John Henry. He soon discovers his amazing strength and sets out to face the world and fulfill his destiny. Thanks to the illustrations and some of the narration, it's easy to know that the story takes place in West Virginia. Although there is no direction mention of time period, it is easily recognizable because the railroad builders were using dynamite to blast through the mountain with, creating a tunnel for the trains to go through.

Lester does a fine job of using personification to paint a picture that readers will enjoy such as when John Henry laughed "...the sun got scared." Some of the cultural markers present are the various skin tones of the people who know or watch John Henry as well as the dialect that is spoken.

The theme is one of living a good, moral life no matter what befalls you. It is very apparent, with a funeral at the White House, that John Henry, whether he be real or fictitious, was a good man.

D. REVIEW EXCERPTS

Caldecott Honor Book, 1990

Booklist: "...this picture-book version is a tall tale and a heroic myth, a celebration of the human spirit."

Publishers Weekly: "A great American hero comes fully to life in this epic retelling filled with glorious, detailed watercolors."

School Library Journal: "It will appeal to an older audience than Ezra Jack Keats's John Henry (Knopf, 1987) and is a fine addition to any folklore collection."

E. CONNECTIONS

Teachers could us a "bubble" thinking map to find adjectives describing John Henry. Next create the same for a character below and creat a venn diagram comparing and contrasting each.

Other tall tale characters to check out:

Kellog, Steven. PAUL BUNYAN. ISBN 9780688058005

Gleeson, Brian. PECOS BILL. ISBN 9780887080814