1. BibliographydePaola, Tomie. 1988. The Legend of the Indian Paintbrush. New York, NY: Putnam & Grosset Group. ISBN 0698113608.
2. Plot Summary
Little Gopher is a Native American boy who is not going to become a hunter and fighter like the other boys in his tribe. The Shaman tells him that his job in life will not be the same as the warriors. He has a dream on a mountaintop and becomes a painter, recording the lives of his people. He is fianlly granted the colors to paint the sunset and gives the paining as a gift to his people. After that, beautiful flowers grow all around in the same colors as the sunset painting.
3. Critical Analysis
Tomie dePaola writes "The Legend of the Indian Paintbrush" in a mannor that reflects the oral tradition. As you read this story, you really get an impression that he is wrting down what has been passed down to him through generations of story telling. It tells of a time in the distant past and follows Little Gopher fro boyhood to becoming a young man. dePaola is writing about a character struggling to find his place in his tribe and in the world in which he lives. He also uses dialogue in the story to convey what the Shaman, the Grandfather, and the Maiden have to say to Little Gopher.
dePaola is also the illustrator for "The Legend of the Indian Paintbrush". The pictures in the beginning of the book show Little Gopher making toys and painting, here dePaola uses many colors. However, when Little Gopher goes to the mountain to figure out his place in the world, the colors become very plain until there is mention of the sunset. The vibrant colors begin again when Little Gopher begins to paint the sotries of his people. The coloring becomes the most vibrant when he finally gets the colors he needs to paint the sunset.
4. Review Excerpts
Acoording to PublisherWeekly, this tlae of Little Gopher's artistic dream is "related with deceptive simplicity be dePaola; he enhances the plainess of the story with his primitive illustrations and...finds ispiration in the colors of the sunset." Ages 4-8. (June)
5. Connections
-This is a great multicultural book that could be read as part of a social sutdies lesson about Native Americans.
-"The Legend of the Indian Paintbrush" is also a great story to introduce folk tales.
1. Bibliography
Ketteman, Helen. 1997. Bubba the Cowboy Prince, A Fractured Texas Tale. Illustrated by James Warhola. New York, NY: Scholastic Press. ISBN 0590255061
2. Plot Summary
In this Texas Cinderfella story, Bubba jas a stepfather and two stepbrothers who are mean and lazy. They make Bubba do all of the work on the ranch, and he doesn't complain because he loves to ranch. A rich woman names Miz Lurleen decides to throw a ball to meet a man to marry. Bubba's brothers Dwayne and Milton make him do everything necessary to get ready for the ball and when he asks to go along, they all laugh at him. The fairy godcow swishes her tail to get Bubba clean and ready to go to the ball but she warns him not to stay until midnight becasue it will all turn back to normal then. When Bubba fianlly gets to dance with Miz Lurleen it is time for him to change back so everyone sees him dirty and smelly and he hurries out adn rides the cow home, but he drps his boot in the process. When Miz Lurleen comes to find out who the boot belongs to, neither of the step brothers can fit into the boot but when Bubba rides up, he is missing a boot and tries it on an everyone sees that it fits. Miz Lurleen and Bubba ride off into the sunset.
3. Critical Analysis
Bubba, the Cowboy Prince follows the traditional story of Cinderella fairly closely. Teh major changes are that it is set on a ranch with a man as the main character. There is also a stepfather and stepbrothers instead of a stepmother and stepsisters. Miz Lurleen is not toyalty but she is a wealthy woman who decides to throw a ball. Instead of a fairy godmother, there is a fairy godcow, chewing on cud who swishes her tail to make the magical changes. The lesson in the story reamins the same, not to make judgements about people based on what they look like becasue the least likely might actually be the better person.
Warhola, the illustrator, used vivid colors in the pictures that go with this book. He uses many iconic symbols of Texas in the book, such as the Alamo bench, Texas shaped clock, the armadillo, horshoe around the fireplace and the boot candlestick holders. The animal characters are even drawn to look either male or female, which adds humor to the pictures and the story. Miz Lurleen bears a striking resemblance to Dolly Parton and wears a skirt that has the longhorn symbol on the back. The illustrator even makes it seem like the clouds and teh moon are characters as well by puttting faces in them.
4. Reviews
“A Cinderella parody that features the off-the-wall whang-dang hyperbole of Ketteman and the insouciance of Warhola, who proves herself only too capable of creating a fairy Godcow… Bubba and Babe, hair as big as a Texas sun, ride off to a life of happy ranching, and readers will be proud to have been along for the courtship.” Kirkus, 11/97
"Rustler lingo and illustrations chock-a-block with Texas kitsch make this ranch spun Cinderfella a knee-slappin' tale. Ketteman and Warhola's well-matched flair for hyperbole gives both the narrative and illustrations a one-two punch. Just the ticket for buckaroos lookin' fer a good read." Publishers Weekly
5. Connections
-This is a great book to use for lessons involving fairy tales. I know that second graders work with fairy tales, but I think it can be a useful book for all ages.
-this would be useful for students learning about compare and contrast because a teacher can use a traditional Cinderella story to compare to this Texas version.
1. BibliographySchwartz, Alvin. 1992. And the Green Grass Grew All Around Folk Poetry from Everyone. Illustrated by Sue Truesdell. New York, NY: Haper Collins Publishers. ISBN 0060227575
2. Plot Summary
Alvin Schwartz put together a collection of folk poetry set to familiar tunes in this book. He researched the history and origins of many of the most popular in American culture, even though some originate from other countries. He sections these poems according to fifteen themes. Some of the themes are People, Food, School, Nonsense, Riddles and Stories, just to name some of them. At the end of the collection, Schwartz provides informational notes for the reader about each of the different types of poets, poetry and rhymes. He also provides the sources of his research and the poems themselves.
3. Critical Analysis
Alvin Schwartz classifies the poems by thems, which is very useful when reading this book because poems that are similar are grouped together. The fact that most of the poems are short and grouped into short stanzas, makes the book an easy, fast read. Another helpful tool in reading this book is that the author provides the tune that the poem should be read to so that it can have a specific cadence while being read. Schwartz also provides the musical lines with the notes for people who can read music, so that it can aid them in reading the poem to the tune, if they do not already know how it goes.
Sue Truesdell's illustrations are very comical in nature. She draws the people or animals with exageration so that they appear funny. Teh pictures are helpful to the poems because most of them are meant to be funny, so the drawings aid in that they create a visual of the humor. Truesdell's pictures are also very literal of the text at times. For example, "Heigh-ho, heigh-ho, I bit the teacher's toe, The dirty rat, she bit me back, Heigh-ho, heigh-ho" actually has a drawing of a teacher on all fours biting a young girl's foot. (p.92) There is a picture or a scene on alomost every page fo this book and they are all in black and white, which I think goes along well with the short black short black print that they accompany.
4. Review Excerpts
From School Library Journal
Grade 3 Up-- A marvelous book that is sure to become a classic if children have any say in the matter. Schwartz has gathered sassy, funny, scary, and slightly naughty children's folk poetry heard on schoolgrounds and wherever else kids are having fun. Adults who stew over the appropriateness of Roald Dahl's books or Shel Silverstein's poetry may have concerns here, but kids will love having all their underground playground rhymes in one volume. Scores are included for ``On Top of Spaghetti,'' ``Mine Eyes Have Seen the Glory/ Of the Closing of the School,'' and other songs. It's hard to imagine illustrations better suited to the book's silly, energized tone than Truesdell's big-eyed, animated, and humorous characters. Given plenty of white space, they tumble, goof, and guffaw across the pages, in ideal tandem with the poetry. These drawings may be in black and white, but readers will never pick up a more colorful book. Of additional interest to many people, adults in particular, are the ``Notes'' in the back on folk poets and poetry; ``Sources'' that trace the selections' origins are also helpful. Read this outrageous volume before it is shelved; once the kids discover it, it will always be checked out. --Lee Bock, Brown County Pub . Lib .
5. Connections
-This book is a great way to introduce poetry to students, some may even be familiar with them.
-The students could spend time composing their own poems, the nonsense ones would be fun for them to write.
-This could also connect with middle and high schoolers who love rap music because it has words set to tunes. For example, the "Do your ears hang low?" poem on page 6 is sampled in a rap song entitled, "Does your chain hang low?", which the students would be familiar with and make a connection.
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