Tag Archives: Family

The Scar

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Author(s): Charlotte MoundlicIMG_4357

Illustrator/Photographer: Olivier Tallec

Publisher and Year: Candlewick Press in 2011

Number of Pages: 31

Genre: Fiction

Analysis:

This story began with a little boy explaining that his mother had just died and left him with just his father. The boy goes through a series of emotions and feelings like being angry that his mother left him, sad that she won’t be there as he grows up, tired from trying to take care of his father, and fearful that he might forget his mother. In the end, his grandmother, his mom’s mom, reminds him that his mother is always with him in his heart.

The illustrations in the story were an important part of this text because they helped add to the overall tone of the story and they helped to depict the feelings of the characters. For example, the color red is the primary color on every page, which can represent a variety of intense emotions such as, anger, fear, love, and passion, which are all emotions felt by the main characters. In fact, the little boy is always a different shade of red depending on his current mood, the more upset or angry he is feeling, the darker the shade of red. I also noticed that the characters sometimes have a mouth on their face and at other times there is no mouth on their faces at all. I think the illustrator did this to show that sometimes the characters may seem fine on the outside, but the text explains that they are still struggling with the loss of the mother.

I believe that this story could work well as a window for children to be introduced to and help to teach the different stages of grief. This could be especially helpful for children who have not been exposed to death to help them to understand the feelings that their friends or family members may have experienced or are experiencing. This book could also function as a mirror for children who have lost a family member, because it can help them understand that having different emotions is completely normal. None of the characters in the story have names, which symbolizes that this little boy and his father can represent all people who feel these emotions, not just this one fictional family. I also believe that it is important to note that the mother is the one who dies in this story, which leaves the little boy with his father to show a different family dynamic where there is a widowed father and his son. Overall, I believe that this is a great story to read to children to help them understand that it is okay to grieve when someone important to you has died, and that there are many stages and emotions associated with grief.

Whoever You Are

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Author(s): Mem FoxIMG_4398

Illustrator/Photographer: Leslie Staub

Publisher and Year: Harcourt in 1997

Number of Pages: 26

Genre: Fiction

Analysis:

This book begins with the main character telling the reader, who they assume is a “little one,” that people all over the world may have different homes, skin color, schools, and lands, but they all have a heart that is capable of all the same emotions. Then the story continues to tell the “little one” that people may be different as they get older, but again reinforces the idea that everyone is similar because everyone has the same emotions.

The illustrations in the story are very important in adding dimension to the text on the pages. The author talks about how there are many different people throughout the world, but the illustrator captures the different cultures in the images by including characters of many different ethnicities, genders, and ages. The images are all brightly colored which is inviting for children to look at, as well as creating the idea that differences make the world a more colorful place. Because of the multitude of ethnicities on each page, I would conclude that no specific race has been given power. However, I believe that some of the images portrayed women as the stereotypical gentle caregiver. For example, in the last few pages, a group of women are all holding children in dresses waving goodbye to the main character, even though there were males throughout the story. Another issue I had with some of the images was the fact that I was not sure that all the different cultures were accurately represented, because I was unsure how the illustrator went about deciding how to represent each culture.

I believe that this story is a great way to teach young children about diversity and also about how everyone is similar when it comes to emotional capabilities. I believe that this story works as a window for children to see that there are many different people and cultures throughout the world, which may be different from what they have experienced in their life. This story also works as a mirror for some children because it represents a multitude of cultures, some of which are not often shown in books. I also believe this book can work as a door for children to learn to see differences in other people but to realize that these differences make individuals special, yet all people are the same on the inside. Overall, this story would work well for teaching young children that all humans are similar in that they all have feelings, especially living in a world that tries to put other people or groups down in order to feel powerful.

The Wall

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Author(s): Eve BuntingIMG_4401

Illustrator/Photographer: Ronald Himler

Publisher and Year: Clarion Books in 1990

Number of Pages: 29

Genre: Fiction

Analysis:

This story is about a little boy and his father who go to the Vietnam Veterans Memorial in order to find the name of the little boy’s grandfather, who is the father of the boy’s father. While the father is searching the wall for his father’s name, the little boy is looking around at the other visitors and describing the gifts left at the wall. In the end, the boy’s father traces over his father’s name that is on the wall and takes the paper home, and the little boy is proud that his grandfather’s name is on the wall but he wishes he were there.

            The images in this book do a great job of reinforcing the somber tone; for example, the color gray is used in every image, the details of the images look a bit blurry or smudged, and most of the images are not framed all the way which makes it seem like they are fading away. All the background characters drawn in this book are white but the main characters seem to be of Hispanic descent, however, they don’t look that different from the other white characters except for their dark brown hair. This instills the idea that many of the Vietnam veterans were white, which can give the impression that the white man is the hero in war and that other ethnicities were not as valuable in war. I also noticed that the two main characters were males and many of the other characters discussed in the book were males, and this also gives the wrong impression that men are to be associated with war which can also show that men are valued more than women in war and in society.

I originally thought that this book was intended as a way to teach young children about how to cope with the loss of a family member. But I realized that this book could also function as a window for children to learn about the effects of war on the more personal level, as well as, teaching them about the Vietnam War and how it impacted America as a whole. For children who have lost a family member, specifically to war, this story can be used to mirror their feelings to show that it is okay to grieve for a loved one. Overall, this story does a great job of explaining a deep message to young readers.

All My Stripes

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Author: Shawna Rudolph and Danielle Royer

Illustrator: Jennifer Zivon

Publishing Information: Magination Press, 2015

Number of Pages: 34

Genre: Realistic Fiction

Analysis:

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            All my stripes tells the story of a zebra named Zane, and his experiences with autism in a classroom setting. Zane can tell he is different from his classmates, and begins worry as he feels that they only see his autism stripe (a red stripe on his forehead that indicates he has autism). It isn’t until his mother explains his many other wonderful stripes that Zane learns that his autism stripe is just one of many stripes, and does not define who he is.

This is quite possibly my favorite book of the ones I have analyzed, as it gives children a way to understand autism and the everyday differences and hardships of people who are effected by the condition. For example, it portrays Zane’s distress when the fire alarm sounds, whereas his classmates were able to remain calm and quiet. Also, the author creates a scene in which the classmates cannot understand why Zane wants to use a paintbrush instead of his hoof when doing a painting activity, because Zane does not like the feeling of paint. The back of the book provides an explanation of these scenes, and how they connect to the behaviors of real people with autism. Furthermore, it provides a guide for how caretakers can help to address and aid with these behaviors for their students/child. This provides an excellent door for both children and adults to respond to those with autism in a caring and understanding manner.

The illustrations are unframed, so readers are able to really put themselves in the scene with Zane. One is able to see the distressed look on his face as he shares his concerns with his mother, and is self-conscious around his classmates. I thought it was interesting as well that on the first page when Zane addresses his concerns to his mother, it is raining which can signify the sadness he feels.

Zane’s mother goes on to explain that the autism stripe is not his only stripe, and he has many other wonderful stripes; his “pilot stripe” that makes him good with directions, his “caring stripe” that reflects his concern for others, his “honesty stripe” which reflects his willingness to tell the truth, and his “curiosity stripe” that shows his eagerness to learn. This teaches children that no one aspect of their life defines them, and the value of self-acceptance. Furthermore, they are learning about autism and how to help in a way that they can better understand at a younger age.

Families, Families, Families

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Author: Suzanne Lang

Illustrator: Max Lang

Publishing Information: Random House Children’s Books, 2015

Number of Pages: 24

Genre: Realistic Fiction

Analysis:

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This Monarch Award-winning children’s book provides a glimpse at the various kinds of families that people may belong to, as an alternative to the nuclear family dynamic. With explanations such as “Some families have two moms,” “Some families have one dad,” and “Some families are children living with the aunt,” children are able to see that families come in a multitude of sizes and have can be made up in all different kinds of ways. Furthermore, it ends by explaining that no matter who or how many people make up one’s family, they are all bonded by love.

This gives children a mirror that allows them to see their own family demonstrated in the text. It is helpful because it can, therefore, make them feel included and have their family composition validated to themselves and other readers. It also provides a window to show them a multitude of different ways a family can be structured, all while stressing the importance that no one family structure is better or worse than any of the others. I especially appreciated the book’s inclusion of same-sex parents, as that is a structure that society is still working toward accepting today. By including these types of families, children who belong to a family with same-sex parents can feel more accepted and appreciate that their family is recognized by the book. Additionally, by including all different kinds of families throughout the book, it provides children with a door to practice inclusion and acceptance for all types of family structures, even if they do not mirror the one they see at home.

The illustrations in the book are unframed, with the exception of a frame that surrounds each family in a way that is designed to give it the appearance of a family portrait. Although the text could exist alone, the illustrations mirror the text and are able to provide a visual representation of each family composition that is being described by the text. Additionally, the illustrations are done in bright watercolors to mirror the happiness and freedom within the story. Facial expressions on the characters are all smiles to reflect this theme as well.

The Only Child

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Author/Illustrator: Guojing

Publisher and Year: Schwartz & Wade Books, 2015

Number of Pages: 100

Genre: Fantasy/Fiction

A lonely, only child runs away from home and finds a mysterious stag that takes her to a magical world. In this world, she feels loved and eventually misses home. Guojing takes us through the young girl’s journey back home to her family.

This book could serve as a mirror for those who can identify with the young girl. Some children may feel lonely and are only children, or at least feel as such. Children often use their imagination to “run away” to a place where they feel wanted and empowered. This story could also work as a window into the Chinese culture. The author has stated that this book “…reflects very real feelings of isolation and loneliness I experienced growing up in the 1980’s under the one-child policy in China” (P. 1). The longing for attention and love that a child feels is something that a multitude of readers can relate to.

There are no words in this book, as it is a picture narrative. Structurally, the entire story is told with pictures. For majority of the pages, the images are framed. There is no apparent pattern to the unframed images, but the reader feels more connected to those pages. The images are dark, which emphasizes the sadness the girl feels. The background to the images is more of a sepia when she is home and unhappy, but it is white when she runs away. This change in background emphasizes which images are happier than others. However, this story could just be a huge fantasy. When the child goes to bed, we see that she is holding what appears to be the stag that she rode to this mysterious land. Ideologically, this story shows readers that although it is very easy to become lost, there is always a path guiding the way back home. This story also conveys the idea that running away is an acceptable solution to feeling alone or abandoned. The parents of the child search helplessly for their lost child, but the child moseys on home like nothing happened.

The Dog Who Belonged to No One

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Author: Amy Hest

Illustrator: Amy Bates

Publisher/Year: Abrams Books for Young Readers, 2008

Pages: 29

Genre: Realistic Fiction

Analysis:

The Dog Who Belonged to No One tells the parallel stories of two lonely characters: “a small dog with crooked ears” (p. 1) and a “wisp of a girl named Lisa” (p. 4). The dog is quiet, friendly, and helpful, but no one ever notices him; Lisa spends long Sundays delivering breads and cakes and has to think up stories to ward off the loneliness. On one stormy morning, Lisa and the dog get caught in the rain and after both taking shelter in Lisa’s warm home, they become inseparable friends.

The Dog Who Belonged to No One speaks to readers, like Lisa and the dog, who feel unnoticed, underappreciated, and in need of a good friend. For readers who have never struggled to make friends, The Dog Who Belonged to No One provides a window into the lives of the lonely, and the hopelessness they find themselves in. Phrases like the “dog could not outrun the night” help readers to see that loneliness can feel like an inescapable trap or a bottomless pit (p. 13). Readers will likely empathize with the dog and Lisa as they read how much of their happiness is derived from wishful dreams (e.g. the dog dreams of a softly lit yard and porch). Finally, Lisa and her family set a good example for readers by graciously and happily welcoming into their lives a dog who needed exactly what they had: a warm home, and tender love. Hest calls upon readers to open their eyes and open their hearts to those in need.

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Power rests symbolically in the hands of fate, the force that brought Lisa and the dog together. The main characters who suffer from too much solitude are depicted as rather powerless. The dog, for example, can try as hard as he wants to help others (e.g. fetching the boys’ baseballs), but still his efforts go unnoticed, causing him to feel even more sad. Lily is jealous of the girls who can stand outside with their dolls and talk, and the sight of them makes her feel alone. While the illustrations mirror the text, they do not fully align with my understanding of culture. Minorities, and the disabled, ugly, or poor—not white girls of hardworking families and well-behaved dogs—are characters I feel typically face loneliness or a lack of belonging. However, using Lisa and the dog as she did could be Hest’s way of saying that anyone can feel alone and in need of a friend.

Hest uses long sentences, repetition, and parallel wording (between the stories of Lisa and the dog) to dramatize the loneliness felt by Lisa and the dog and gain the reader’s sympathy. The text emphasizes how the dog and Lisa are perfectly good people and animals who do not deserve their loneliness. Bates’ illustrations add to the text by also appearing to readers’ emotions. Lisa and the dog, for example, are often drawn with their eyes gazing downward and a blank, somber expression; only after they have found each other do they make eye contact. In the final scene, the dog and Lisa are welcomed from the rain with an open porch, symbolic of their new beginning and friendship together, and personal growth (they no longer have to be alone). Love and acceptance are themes prevalent in The Dog Who Belonged to no One. Unfortunately, fate and coincidence are shown to be problem-fixers in Hest’s book. This is not always realistic, for some situations can only be improved by human initiative and purposeful action.

Grandpa Green

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Author: Lane Smith

Illustrator: Lane Smith

Publisher/Year: Roaring Book Press, 2011

Pages: 34

Genre: Realistic Fiction

Analysis:

In Grandpa Green, a little boy gives a history of his great-grandfather as he wanders among the artfully shaped trees and hedges of his garden. The boy’s history exposes his great-grandfather as a humble farm boy, a soldier, a husband, and most of all, an artist whose memories lie in his garden creations. The book ends with the boy trimming a topiary tree in the shape (memory) of his great-grandfather.

In a touching and whimsical way, young readers who feel a great sense of pride and respect towards a role model, friend, or family member, can relate to the little boy’s fascination with his great-grandfather and his desire to bond in the garden. Grandpa Green acts as a window by exposing young readers to the experiences of a different generation, one where children got chicken pox, did not have cell phones, and had to serve in the war as young adults. Grandpa Green also introduces readers to the process of aging, but not as they have experienced it thus far in their lives; for boy’s great-grandfather, aging involves forgetfulness and handing down his memories and legacy through garden creations. Finally, the boy’s honorable behavior allows Grandpa Green to act as a door for readers. Instead of mocking or judging his great-grandfather in his old age, the young boy shows great curiosity and respect for him. The boy both interacts with his great-grandfather’s memories (in the form of shaped trees) and helps him to not forget things like his hat.

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Power is distributed evenly in Grandpa Green. Although the great-grandfather is old and growing forgetful, Smith celebrates the power of older generations to pass down memories and family history. The boy as well has power—the power to keep his great-grandfather’s art and spirit alive by learning how to trim trees and shrubs. Although concepts of family history and aging are universal (or race-less), Grandpa Green focuses on those themes within the setting of a white, American family. Some readers might get the message that gardens as spectacular and elaborate as the great-grandfather’s are typical of white people, and senior citizens especially. Grandpa Green only explores one way family history can be shared, even though it is different across cultures.

The text communicates the identity transformation of the great-grandfather as he ages and grows from a farmer to a lover, soldier, husband, and artist. The text, while limited, also provides context to the illustrations. Sif’s illustrations add a whimsical feeling to the story and symbolize how imagination and artful skill can preserve things (i.e. memories) otherwise forgotten. On each page, trees and bushes are shaped to mimic each event in the great grandfather’s life (e.g. trees shaped like a plane and parachuting soldier to represent war). The boy is drawn very lightly and is almost invisible; the purpose of Grandpa Green is to celebrate the great-grandfather, not the boy. Also, the way the young boy plays with his great-grandfather’s garden creations in the illustrations symbolizes how history is lived through the memories of loved ones. Themes present in Grandpa Green include respect for elders and the use of art as a means of story-telling and sharing of culture.

The Butter Man

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Authors: Elizabeth Alalou and Ali Alalou

Illustrator: Julie Klear Essakalli

Publisher/Year: Charlesbridge, 2008

Pages: 30

Genre: Realistic Fiction

Analysis:

One Saturday evening, Nora could not wait for Baba’s couscous and begged for a pre-dinner snack; Baba refuses and tells Nora a story of living in Morocco during a drought and famine. Baba recalls how his favorite treat—butter—quickly ran out and he had to wait patiently for the Butter Man to walk through town so he could enjoy his bread. Although the Butter Man never showed, Baba’s father’s return home triggered a wet spring season and their family could buy the cows needed to make butter.

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Young readers who have felt the gnawing pain of hunger or experienced the frustration of having to wait for everyone to come home to eat a meal, can personally identify with the difficulties Nora and her father endured. The Butter Man acts as a window to the struggles faced by people living in the small villages of the Atlas Mountains in Morocco, where families survive by farming, and food sources are limited and unpredictable. The Butter Man exposes readers to a lifestyle very different from that of many Americans—a life where needs are not immediately satisfied and the art of being patient and resourceful is key to passing time. Finally, Baba’s childhood story provides an honorable model of behavior for readers of all kinds. Baba teaches Nora and readers that good things come to those who wait patiently, and how waiting allows a person to better appreciate and enjoy the awaited thing when it is finally in their possession. After many long days of waiting and the disappointment of not seeing the Butter Man, Baba received an even greater gift: the return of his father, and in due time, butter and a revived farm.

In The Butter Man, power is not an external force, but exists within the individual; it is the ability to wait for something meaningful. Just as Baba’s mother taught him the virtue of patience, Baba hoped to do the same for his daughter Nora. The Butter Man affirms and accurately portrays Moroccan and Islamic culture. Essakalli draws the Morrocan people in authentic cultural attire, and together, the text and illustrations depict Moroccan people as hardworking and humble people. Readers can empathize with Baba and his neighbors who must look for work to support a family during famine, in villages that lack electricity, cars, and paved roads. The book also provides a fresh look on modern Moroccan-American culture, as shown by Baba’s continued tradition of cooking the couscous for Saturday dinner (while the wife works).

The importance of one’s heritage and culture is communicated through the Alalou’s inclusion of authentic Berber language (e.g. baba, bahalou, mahalou) and Moroccan traditions (e.g. Bismillah: pre-meal blessing; use of special Moroccan pot to prepare couscous). Illustrations in The Butter Man are unframed with some even spanning two pages; this encourages the reader’s involvement in the hunger and impatience felt by Baba and Nora. Folk art paintings fit with the lesson-giving nature of The Butter Man. Intense, yet subdued, colors (burnt oranges and reds) convey the intensity of the drought and famine. Likewise, the disproportionately large size of the Moroccan pot and couscous dish help portray the strength of these time-honored traditions and also remind readers of the great deal of waiting Baba and Nora had to endure before savoring the dinner. As a whole, The Butter Man challenges gender roles (Baba cooks the Saturday dinner), celebrates the symbolic connection between food and heritage, and shows patience and humility to be virtues and character-builders.

Last Stop on Market Street

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Author: Matt de la Peña

Illustrator: Christian Robinson

Publisher/Year: Penguin Group, 2015

Pages: 28

Genre: Realistic Fiction

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Analysis:

On one particularly rainy Sunday, CJ is far from excited about riding across town with his grandma to the soup kitchen where they volunteer; he questions Nana as to why they must wait for the bus, why they do not have a car like his friends do, and why they cannot just go home after church. Nana helps CJ’s imagination grow by encouraging him to look for the beauty along their journey—from the magic of music and city life, to the spirited characters of the soup kitchen.

The Last Stop on Market Street can speak to young readers, such as CJ, who feel uncomfortable living a lifestyle different from that of their peers, and needed a push from someone they love to appreciate what they have and are working for. Young readers who live with and/or spend most of their time with a grandparent or other non-parent caregiver can also relate to CJ’s experiences with Nana. Likewise, The Last Stop on Market Street functions as a window. As a narrative of a young boy living modestly in the city, Matt de la Peña’s book introduces readers to a day in the life of someone who may be less advantaged (i.e. financially) than they are. White readers of the middle class are given a chance to empathize with CJ as he realizes the cultural differences that divide he and his friends (e.g. CJ must wait in all weather for the public bus, and has to volunteer after church instead of going home to relax). Finally, The Last Stop on Market Street acts as a door through Nana’s example of respect and optimism. Specifically, Nana models for CJ how to be a “better witness for what’s beautiful” by not being narrow-minded (p. 22). For example, when CJ questions why the blind man cannot see, Nana invites CJ to consider understanding the world through one’s ears.

Symbolic power—the ability to see the beauty in even the most imperfect and overlooked aspects of life—is imparted on CJ through his Nana’s wise advice and model behavior. Both the text and illustrations accurately and respectfully represent African American culture. Many, but certainly not all, African American parents are absent in their children’s lives due to divorce or multiple jobs, as can be inferred by the intimacy between CJ and Nana. The language used by CJ and Nana is not always grammatically correct (e.g. “gotta;” “Boy” to refer to CJ) and resembles slang. Although CJ and Nana are stereotypically living and working in an urban environment, Peña and Robinson celebrate the spirit and diversity of such a place. Contrary to what one might expect, Robinson’s soup kitchen is a place where men and women of all colors work and eat.

Text, in the form of out-loud wonderings, questions, and wishes, is used to communicate CJ’s initial resentment and discontentment with his lifestyle. Nana’s wisdom and her helpful advice for CJ are also communicated through words. Illustrations in The Last Stop on Market Street embrace the theme of human diversity. Many characters are illustrated with a distinctive look (e.g. tattooed man; pregnant woman), and represent a wide range of ability (e.g. blind; physically handicapped) and race (black, white, and all colors in between). In this way, Robinson’s illustrations challenge various stereotypes, such as how soup kitchens and public transportation are not just for people of color. Late in the book, hawks flying towards the right of the page, and the use of brighter, more optimistic colors to illustrate the neighborhood slum symbolize the return of CJ’s pride for their work at the soup kitchen, and respect for the community he lives in. The Last Stop on Market Street preaches the value of humility, or the idea that having less allows a person to see more beauty in the world. Another, perhaps unintended theme is orthopraxy, explored by how CJ and Nana go to church but also do good works (volunteer work).