Bibliography Kimmel, Eric A. 1993. The Witch’s Face: A Mexican Tale. Ill. by Fabricio Vanden Broeck. New York: Holiday House. ISBN 0823410382 Plot Summary In this adaptation of the Mexican Folktale, as Don Aurelio travels by horse to Mexico City, night falls. He stops at a home and is greeted by three strange women. They offer him a meal, and the youngest and most beautiful of the women warns him, “All is not as it seems.” He eats his meal, after which he immediately falls asleep. He awakens, only to realize the entire night and another day has passed. The three women again offer him a meal, and this time the youngest warns him, “Drink nothing. Your life depends on it.” He pretends to sleep and discovers that the three women are really witches. He is so surprised he falls, hitting his head, only to wake and find himself locked in a cage. Don Aurelio realizes he is in love with the young and beautiful witch. She tells him how to escape and break the spell that will force her to become a witch, to which he complies. She escapes and is free, only to discover that Don Aurelio did not keep his promise, and she leaves him in tragedy. Critical Analysis The author introduces this story with a note about its origins. It is based on a story from the oral tradition of the Mazahua Indians of Central Mexico known as “La Esposa Bruja.” He lists other sources of the story, as well as people from those cultures who helped in the development of this adaptation. This, along with the Spanish intermixed in the text, as well as the illustrations of daily life in Central Mexico, create an aura of cultural authenticity. The characters in this adaptation reflect the archetypes of good and evil. Don Aurelio is an innocent man who stumbles into the clutches of evil witches. However, there is a slight twist in that one of the evil witches really does not desire to be evil. The themes of love and sacrifice are seen as she assists Don Aurelio in his escape, thereby securing her own escape. Another theme that can be recognized in this adaptation is that love is blind/love can see beyond a pretty face. These themes are complex and may be more difficult for younger students to recognize, but older students will enjoy finding examples of these themes in the text. The setting of this story is fairly simple, with very little detail in the background of the images. The main focus of the setting is on the characters, their emotions, and their clothing, which appears to be authentic from Central Mexico. The illustrator, Vanden Broeck, uses warm, muted colors that create an almost dream-like backdrop to the majority of the story. He also creates tension and suspense with the use of darker, more sinister shading in moments of conflict. Overall, the illustrations create a wonderful backdrop for the story that aids in the development of the characters and plot. The plot of this story is the right mix of complex and simple. Younger students will understand the themes and plot of good versus evil, while the older students will appreciate that this adaptation differs from many traditional stories in that it does not have a traditional happy ending. The story pace moves quickly and leaves the reader wondering what will happen next. However, some of the darker motifs could frighten younger children, making this book a better read for upper elementary and beyond. Overall, this book exhibits many of the qualities of good traditional literature. Its cultural authenticity also makes this a book that lends itself well to analysis and comparison among other traditional stories. Response I have heard a similar story from Italy before in a storytelling course. I was immediately drawn into the darker motifs that created suspense and tension, although those themes could be scary for younger children. I appreciated that the author explained the background of the story and that the illustrator included multiple details in the pictures that added to the cultural authenticity. The use of some Spanish added to the cultural authenticity, as well. This is a book that could easily be used in conjunction with other traditional tales to analyze story elements or compare and contrast across cultures. Overall, it is an interesting read. Reviews “To his ever-lengthening series of retellings of great world folktales Kimmel adds the dark, intensely dramatic story of Don Aurelio, who falls in love with the beautiful young witch Emilia. He delivers her from an enslavement to evil by replacing her lovely witch's mask with a rough, homely one. But his love is not strong enough to survive the loss of her beauty; as she sleeps, he restores her former face (instead of destroying it as he had sworn to do) and thus loses her forever. The illustrations are tense and foreboding; judicious use of black overpainting makes them dramatically dark despite the vivid colors. Emilia's true face is never seen, a frustration to young readers that nonetheless deepens the mystery. A spellbinding readaloud for older children.” -- Kirkus Review “Kimmel has chosen to retell one of the most resonant of the Mexican witch-tales. It is filled with fear and danger, horror and beauty, love and betrayal, useless penance, and redemption denied-strong stuff, and Vanden Broeck's illustrations don't take the curse off, though their beauty is alluring. Grainy shadows tipped with colorful fire give a shuddery immediacy to the desolation of the landscape. One can almost hear the warning creak of the single lantern over the door of the witches' house. A hair-raiser at any time of the year.” -- School Library Journal “Powerfully illustrated with dark, shadowy paintings, Kimmel's retelling (drawn from oral and written sources) increases in both drama and momentum as Aurelio and Emilia play their parts through to the tragic finale. This is potent storytelling for the junior-high and high-school set, but it may need some booktalking because of the young-looking format.” -- Booklist Connections
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Bibliography Wiesner, David. 2001. The Three Pigs. New York: Clarion Books. ISBN 0618007016 Plot Summary This story starts off in the tradition of the original “Three Little Pigs” tale. But, as the wolf begins to huff and puff, the pigs find themselves in a new place full of imagination. As the pigs travel through other classic stories they meet new friends along the way. Eventually they return to the original version, only to use their new skills and friends to subdue the wolf. The story ends with the pigs rearranging the letters from the story to spell “And they all lived happily ever after.” Critical Analysis This story is a fun spin on the classic tale of the three pigs. The story starts off with the same characters, setting, and plot, until the wolf blows the first pig off the page. From there, the story continues on, only to have the first pig help the second and third pigs escape from the story, as well. The pigs are mischievous and appealing to readers of all ages as they fold up a page of the story with the big, bad wolf, make it into a paper airplane and fly it into the classic nursery rhyme, “Hey Diddle Diddle.” From there, they venture into a fairy tale with a dragon, and return to their story (new friends in tow), only to rearrange what happens (including the words) to create their own happy ending. The characters of the three pigs morph from the simple brothers of the traditional tale into fun, mischievous, and endearing little pigs that give the poor old wolf a run for his money. The wolf is depicted at first in his usual sinister manner, but we quickly see the concern on his face when the first and second little pigs disappear, as well as when they fold up the page he is on and turn it into a paper airplane. Wiesner takes the simplicity of the traditional characters and turns them into characters with more depth, emotion, and interest. The plot of this version is more detailed than the original and will require more attention from young children to keep pace with what is happening as the pigs travel through various other stories. Even though the plot is a bit more complicated, it is entertaining and creates a sense of imagination and adventure that is engaging. The setting changes multiple times, keeping the reader on their toes, but does provide backdrops and characters that most readers will be familiar with. The style and theme of Wiesner’s version is much more fun and fantastical than the original. We are witness to the pigs changing the story and creating their own ending. The theme of this version is also a bit more complicated than the original, but through discussion and inference, even young readers will enjoy the idea that you are the captain of your own destiny. The Three Pigs is not only an interesting read, it is visually stunning as well. Wiesner uses a wide variety of illustration styles, as well as speech bubbles and text excerpts, to lead the reader on this fantastical journey. One minute the illustrations are traditional and mild, the next minute the animals are flying off the page and have morphed into realistic-looking pigs! This book is a gem that combines the traditional with the modern both textually and visually. An instant classic, readers of all ages are sure to enjoy this spin on the traditional tale of three pigs and a big, bad wolf! Response I was absolutely surprised when the story shifted from the traditional to the new. The illustrations added so much perspective and character to the story, creating a fantastical world where the pigs take control and outwit the big, bad wolf. The story is humorous, entertaining, raucous, and absolutely fantastic! I laughed out loud at several points, reading the speech bubbles and the interaction between the pigs and the big, bad wolf. Honors 2002 Caldecott Medal Winner 2002 Irma Black Award Reviews “Wiesner has created a funny, wildly imaginative tale that encourages readers to leap beyond the familiar; to think critically about conventional stories and illustration, and perhaps, to flex their imaginations and create wonderfully subversive versions of their own stories.” -- Booklist, ALA, Starred Review "Children will delight in the changing perspectives...and the whole notion of the interrupted narrative...fresh and funny...Witty dialogue and physical comedy abound in this inspired retelling of a familiar favorite.” -- School Library Journal “With this inventive retelling, Caldecott Medalist Wiesner (Tuesday, 1991) plays with literary conventions in a manner not seen since Scieszka's The Stinky Cheese Man and Other Fairly Stupid Tales (1993). The story begins with a traditional approach in both language and illustrations, but when the wolf huffs and puffs, he not only blows down the pigs' wood and straw houses, but also blows the pigs right out of the story and into a parallel story structure. The three pigs (illustrated in their new world in a more three-dimensional style and with speech balloons) take off on a postmodern adventure via a paper airplane folded from the discarded pages of the traditional tale. They sail through several spreads of white space and crash-land in a surreal world of picture-book pages, where they befriend the cat from "Hey Diddle Diddle" and a charming dragon that needs to escape with his cherished golden rose from a pursuing prince. The pigs, cat and dragon pick up the pages of the original story and return to that flat, conventional world, concluding with a satisfying bowl of dragon-breath-broiled soup in their safe, sturdy brick house. The pigs have braved the new world and returned with their treasure: the cat for company and fiddle music, the dragon's golden rose for beauty, and the dragon himself for warmth and protection from the wolf, who is glimpsed through the window, sitting powerlessly in the distance. On the last few pages, the final words of the text break apart, sending letters drifting down into the illustrations to show us that once we have ventured out into the wider world, our stories never stay the same.” -- Kirkus Reviews Connections
Bibliography Taback, Simms. 1999. Joseph Had a Little Overcoat. New York: Viking. ISBN 9780670878550 Plot Summary Just like the title says, Joseph had a little overcoat. Over time, the overcoat becomes old and worn and Joseph turns it into a jacket. The pattern continues as he turns the jacket into a vest, the vest into a scarf, the scarf into a necktie, the necktie into handkerchief, and the handkerchief into a button. One day, he loses the button and decides to write a story about it. The book ends with a moral, “You can always make something out of nothing.” Critical Analysis The first thing the reader notices in this story are the fantastic illustrations done in watercolor and collage. These illustrations at first appear simple, but as you look closely you see the details that give background to the story, including newspaper pages, handwritten blurbs, and sayings on the walls. Some of these are humorous and/or lend themselves to a deeper discussion of the story. From the illustrations and anecdotes, the reader can infer that the story takes place in Poland sometime in the past. The Jewish culture is obviously represented through these, as well as in the author’s note at the end of the story. Another feature of this book that children will enjoy is the die-cut cutouts every few pages that show the changing pieces of clothing as Joseph alters them. These imaginative cutouts are interesting and inventive, helping children see the transition from piece of clothing to piece of clothing. The main character, Joseph, is depicted as a resourceful farmer. He displays qualities of creativity and thriftiness as he reinvents the original overcoat into different items over and over. Children will enjoy, and be able to follow along with the repetitive nature of this story. The story line moves quickly through time, depicting Joseph in different situations and occasions over the course of this time. This is a great story for interactive reading and retelling. Children will enjoy the simple theme of resourcefulness in this story. It is easily recognized and told in a rhythmic way that is song-like. The author includes the music for the song version of the story at the end of the book. In the author’s note at the end he discusses how it was a song he loved as a child. Children will be able to make connections to songs they love and the stories behind those, as well. Overall, this story is not just a traditional tale. The illustrations and theme make it an enjoyable read for children and adults of all ages. Response This story is such a fun read! My little ones enjoyed the cutouts and seeing Joseph’s overcoat transform its way down to a button. Even the youngest child can make a connection with the simple theme of making something out of nothing. Its song-like cadence makes reading aloud fun, and students will make connections to other stories that are similar in style (e.g. There Was an Old Lady Who Swallowed a Fly). This is a great story for discussing the Jewish culture and its traditions, as shown through the illustrations. This book is a classic that is sure to engage children of all ages in its magic. Honors 2000 Caldecott Medal Winner 1999 Louis Posner Memorial Award (National Jewish Book Award for Children’s Books) 1999 Sydney Taylor Book Awards Honor Reviews “As in his Caldecott Honor book, There Was an Old Lady Who Swallowed a Fly, Taback's inventive use of die-cut pages shows off his signature artwork, here newly created for his 1977 adaptation of a Yiddish folk song. This diverting, sequential story unravels as swiftly as the threads of Joseph's well-loved, patch-covered plaid coat. A flip of the page allows children to peek through to subsequent spreads as Joseph's tailoring produces items of decreasing size. The author puts a droll spin on his narrative when Joseph loses the last remnant of the coat button and decides to make a book about it. "Which shows... you can always make something out of nothing," writes Taback, who wryly slips himself into his story by depicting Joseph creating a dummy for the book that readers are holding. Still, it's the bustling mixed-media artwork, highlighted by the strategically placed die-cuts, that steals the show. Taback works into his folk art a menagerie of wide-eyed animals witnessing the overcoat's transformation, miniature photographs superimposed on paintings and some clever asides reproduced in small print (a wall hanging declares, "Better to have an ugly patch than a beautiful hole"; a newspaper headline announces, "Fiddler on Roof Falls off Roof"). With its effective repetition and an abundance of visual humor, this is tailor-made for reading aloud.” -- Publisher’s Weekly “Clever die-cut holes provide clues as to what Joseph will make next: windowpanes in one scene become a scarf upon turning the page. Striking gouache, watercolor, and collage illustrations are chock-full of witty details-letters to read, proverbs on the walls, even a fiddler on the roof. Taback adapted this tale from a Yiddish folk song and the music and English lyrics are appended. The rhythm and repetition make it a perfect story time read-aloud.” -- School Library Journal “Taback's mixed-media and collage illustrations are alive with warmth, humor, and humanity. Their colors are festive yet controlled, and they are filled with homey clutter, interesting characters, and a million details to bring children back again and again. The simple text, which was adapted from the Yiddish song "I Had a Little Overcoat," begins as Joseph makes a jacket from his old, worn coat. When the jacket wears out, Joseph makes a vest, and so on, until he has only enough to cover a button. Cut outs emphasize the use and reuse of the material and add to the general sense of fun. When Joseph loses, he writes a story about it all, bringing children to the moral "You can always make something out of nothing." -- Booklist Connections
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AuthorMy name is Mrs. Scott and I'm a secondary Media Resource Specialist (librarian) in Texas. This blog was created as part of my graduate coursework at Texas Woman's University. All reviews and opinions are my own.
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