Swamp Angel

Image from: Anne Isaacs

1.      BIBLIOGRAPHY

Isaacs, Anne. 1994. Swamp Angel. Ill. by Paul Zelinsky. New York, NY: Dutton Children’s Books. ISBN 0-525-45271-0.

2.  PLOT SUMMARY

In this tall tale, Angelica Longrider, born in 1815, “scarcely taller than her mother”, grows up to become the greatest woodswoman in Tennessee. From the beginning, Angelica performs fantastic feats, building a log cabin at the age of two, saving cabins from fire, stopping a flood, and rescuing a wagon train from a swamp, which earns her the nickname of “Swamp Angel” at the age of twelve.  Time passes quickly as she performs these heroic acts, bypassing quilting, which she sees as men’s work, and culminating in an all-out battle with her nemesis, Thundering Tarnation, the bear who threaten the winter food supply for the entire state of Tennessee. Their wrestling brawl lasts for several months, with some high-flying, tornado-whirling, lake-drinking, loud-snoring action. Her snores finally best the bear, felling a humongous tree, which flattens the bear, providing a feast for all the settlers and enough food to last the winter.

3.      CRITICAL ANALYSIS

Anne Isaacs’s writing is colorful and full of rustic expressions, such as “as plentiful as dewdrops on corn,” “I’m much obliged,” and “That was mighty refreshing,” which authentically convey the feeling and atmosphere of the 1800’s, the time of Angelica’s epic adventures. The words chosen to impart her daring feats, such as “powerful reputation” and “lasting impression,” will help to expand the vocabulary of a young reader, ages 8 through 12, as well as young listeners, age 4 and up. Isaac’s style is clear and straightforward, telling a big story in a big way, with Angelica as the larger than life, feminist heroine. This tall tale is also a pour quoi tale explaining the origin of the Great Smoky Mountains, the constellation of Ursa Major, and the Shortgrass Prairie in Montana. Isaac’s uses irony effectively in comments such as “her father gave her a shiny new ax to play with in the cradle, like any good Tennessee father would.” Also, Isaac adds that stories about Swamp Angel continue to spring up even today and “every one is true,” creating a flavor of high exaggeration. 

Caldecott-award winning artist Paul O. Zelinsky has painted vibrant, folksy illustrations that add depth and understanding to the tall tale, helping readers to see and imagine the enormity of Swamp Angel and her escapades. He captures Angelica’s good nature as she helps those in need and her strength as she wrestles tornados and bears. From the opening of the book with its wood paneled end pages, Zelinsky’s artistry gives the book a woodsy, homespun feeling, contributing to the story’s 1800’s atmosphere. He painted on wood veneers of cherry, maple, and birch, as the copyright page states, giving each picture a wooden frame. Each two page spread helps express the beauty and ruggedness of the American Frontier, in the mountains and foothills of Tennessee. His paintings show the scale and size of Angelica in proportion to normal human beings, yet they also contain a lot of small details of animals and people, which adds humor, such as mountain lions playing with balls of yarn. These details will cause readers to pause over each page, to search out some new small detail, enriching their reading experience in the process.

Angelica’s exploits will encourage children to stand up to the challenges in their lives and be heroic like Swamp Angel, a role model for both boys and girls. Angelica’s final admonishment to the dead bear, “Confound it, varmint. If you weren’t the most wondrous heap of trouble I ever come to grips with,” speaks to her persistence in the face of trouble, a valuable lesson to the audience, even if they cannot drink a lake dry. This story, Anne Isaac’s first, along with Zelinsky’s supporting artwork, is a wonderful modern tall tale that will please readers.

4. AWARDS AND REVIEW EXCERPT(S)

*1994 Caldecott Honor Book
*1995 Boston Globe-Horn Book Honor Book
*1994 ALA Notable Book
*New York Public Library, 100 Books Every Child Should Read
*New York Times Best Illustrated Books of 1994
*School Library Journal Best Books of 1994
*Booklist Children's Editors Choices 1994
*Publisher's Weekly Best Books of 1994
*Time Magazine's 8 Best Children's Books, 1994
*Parenting Magazine Reading-Magic Award, 10 Best Books of 1994
*1995 Notable Trade Book in Language Arts, National Council of Teachers of English
*Book of the Month Club featured selection
*featured on Storytime, PBS

Starred Review in Horn Book: “Move over, Paul Bunyan, you are about to meet Swamp Angel, an original creation in the tall-tale tradition whose exploits are guaranteed to amaze and amuse a wide swath of readers. . . Visually exciting, wonderful to read aloud, this is a picture book to remember.”

Starred Review in Kirkus: “It is impossible to convey the sheer pleasure, the exaggerated loopiness, of newcomer Isaacs's wonderful story. Matching the superb text stride for stride are Zelinsky's altered-state, American primitive paintings--gems that provide new pleasures, reading after reading.”

Starred Review in Booklist: “Isaacs tells her original story with the glorious exaggeration and uproarious farce of the traditional tall tale and with its typical laconic idiom. You just can't help reading it aloud. . . Zelinsky's detailed oil paintings in folk-art style are exquisite, framed in cherry, maple, and birch wood grains. They are also hilarious, making brilliant use of perspective to extend the mischief and the droll understatement.”

5. CONNECTIONS

*Have children explore live on the American Frontier. Have them answer questions such as: How did people live? What did their houses look like? What food did they eat? Was it an easy life or a lot of hard work? What were the benefits and disadvantages of living on the Frontier? Would you like to live then and there?

*Investigate the elements that make up a tall tale. Have children create their own tall tales.

*Compare and contrast Swamp Angel  to other tall tales. How are they alike or different? 

*Other tall tales with female protagonists:

Kellogg, Steve. Sally Ann Thunder Ann Whirlwind Crockett. ISBN 978-0-688-14042-7

Nelson, Jerdine. Thunder Rose. ISBN 978-0-152-06006-0

San Souci, Robert D. Cut from the Same Cloth: American Women of Myth, Legend, and Tall Tale. ISBN 978-0-698-11811-9

*Other related tall tale books:

Kellogg, Steve. Paul Bunyan 20^th Anniversary Edition. ISBN 978-0-688-05800-5

Kellogg, Steve.  Pecos Bill. ISBN 978-0-688-09924-4

Lester, Julius. John Henry. ISBN 978-0-140-56622-2

Osborne, Mary Pope. American Tall Tales. ISBN 978-0-679-80089-7

The Three Pigs Los Tres Cerdos Nacho, Tito and Miguel

Scanned image. 

1.      BIBLIOGRAPHY

Salinas, Bobbi. 1998. The Three Pigs Los Tres Cerdos Nacho, Tito and Miguel. Ill. by Bobbi Salinas. Oakland, CA: Piñata Publications. ISBN 0-934925-05-4

2.  PLOT SUMMARY

Taking place in the American Southwest, The Three Pigs Los Tres Cerdos Nacho, Tito and Miguel  tells the story of three brother pigs who leave home to “seek new adventures and meet new friends.” The first pig, Nacho, builds in his out of straw and enjoys reading the original version of The Three Little Pigs until José, the hungry wolf, comes and blows his house in. José takes Nacho away to a pigpen and makes plans to turn him into carnitas and chicharrones for supper. Tito, the second brother, who is an artist, suffers the same fate as José blows down his house made of wood. Miguel, the third and wisest pig, built his house of adobe bricks. He is working on his computer in his library full of books when the wily José comes knocking. Unable to blow the adobe home down, the wolf attempts to trick Miguel into meeting him in a corn field, an apple orchard, and a feria (festival), but Miguel repeatedly outsmarts the wolf. At the feria, Miguel, scared at seeing the wolf, jumps into his barrel, which promptly rolls down the hill, chasing the wolf away. Later, the wolf tells of a giant rolling pin that tried to flatten him and Miguel laughs, telling José that it was him. The wolf gets so mad that he climbs down the chimney, burns his tail, and leaves the pigs alone. Miguel rescues his brothers and they sit down to a dinner of corn, applesauce, and green chile stew with tortillas. In the end, all three brothers build houses of brick.

3.      CRITICAL ANALYSIS

The Three Pigs Los Tres Cerdos Nacho Tito and Miguel is a new take on the traditional tale. It is expanded and elaborated upon, adding dimensions of Hispanic culture and non-violence. With the exception of the rolling barrel, the wise pig Miguel uses his wits, not to kill the wolf, but to teach José a lesson. Miguel shows readers that sometimes those who seem powerful are not as scary as they might seem. This oversized book is bilingual with the story told in English and Spanish side by side on each page. Bobbi Salinas playfully uses Spanglish to add humor to the story, with “No way, José” in English and “Hasta la vista, Baby” in Spanish. Perfect for the older reader, ages 6-10, who is learning English or Spanish, the book makes it easy to see what each phrase means in each language. 

Salinas adds a strong Southwestern flavor to the story with her delightful, brightly colored illustrations. She provides a glimpse into various aspects of Southwestern culture, such as clothing, food and how it is grown, the way houses are built, and what people do for fun. From the first end pages which are decorated with children’s illustrations of the three little pigs, she creates a child-friendly, inviting visual story with her drawings of life in the American Southwest. Her illustrations are full of small details that beg to be explored, adding humor to the story. The visual puns, such as the “You Pull” bicycle moving wagons, the straw seller’s truck labeled “The Last Straw,” and the “No Pork Rinds” sign in Miguel’s kitchen add to the entertainment value of this book. Watching the changing expressions and happenings of the Sun on many of the pages is fun, as is examining the contents of the pigs’ homes. Nacho’s house is decorated in Southwestern style with brightly colored tiles and fired clay tile floors and he rests in a hammock. Tito’s home is full of labeled art, introducing “The Mona Frida” to readers. Every book (and there are over 100) in Miguel’s home is labeled with a famous title or author. In addition, Salinas draws native animals like iguanas and turtles, as well as native plants like prickly pears and barrel cacti. Her backgrounds show the landscapes of the desert and canyon lands so prevalent in the Southwest. Salinas adds interest and depth to the story filling in details not found in the words, such as showing the brothers building their homes or Miguel cooking dinner. 

The Three Pigs Los Tres Cerdos Nacho, Tito and Miguel addresses the growing need for bilingual books, for those learning English or Spanish. This book is an entertaining read and also includes instructions for many activities, for, as the cover states, “children ages 3-103, all colors, all sizes, and all sexes.”

4. AWARDS AND REVIEW EXCERPT(S)

The Tomás Rivera Mexican American Children's Book Award, 1998  

Review from Publishers Weekly: “This book offers a spicy retelling of the familiar tale of the three little pigs…The excellent illustrations are entertaining, intelligent, and witty, offering lots of visual jokes and cross-cultural references to the likes of Elvis Presley, Frida Kahlo, Cesar Chavez, and Cantinflas. The moderate use of Spanglish in the English text will irritate some readers and delight others. This book is meant to be read out loud.” 

5. CONNECTIONS

*Practice speaking the Spanish words in the glossary. Add other basic phrases found in the book, such as ¡Claro que sí!

*Perform a reader’s theater. Create simple costumes with suggestions found in the back of the book for sombreros, braids, pigs’/wolf’s snout, pigs’ ears, vests and chinny-chin-chin hairs.

*Gather other Three Little Pigs books. Discuss similarities and differences.

*Have children write and illustrate their own version of The Three Little Pigs (or other variety of animal). Have volunteers share their stories with the class.

 

*Other bilingual books:

Herrera, Juan Felipe. The Upside Down Boy/El niño de cabeza. ISBN  978-089-239217-9

Lomas Garza, Carmen. In My Family/En mi familia. ISBN 978-089-239163-9

Mora, Pat. Gracias/Thanks.  ISBN 978-160-060258-0

*Other Three Little Pigs books:

Kimmel, Eric A. Three Little Tamales. ISBN 978-0761455196

Lowell, Susan. Three Little Javelinas. ISBN 978-087-358542-2 

Scieszka, Jon. The True Story of the Three Little Pigs. ISBN 978-014-054451-0

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The Story of Lightning and Thunder

1.      BIBLIOGRAPHY

Bryan, Ashley. 1993.  The Story of Lightning and Thunder.  Ill. by Ashley Bryan. New York, NY:  Macmillan Publishing. ISBN 0-689-31836-7.

2.  PLOT SUMMARY

The Story of Lightning and Thunder, a retelling of a Nigerian folktale, begins with Ma Sheep Thunder and Son Ram Lightning enjoying village life among people in Alkebu-lan (now Africa). Ma and Son were highly esteemed since they would call their friend, Rain, to water the people’s crops. Ma tries to raise her boy well, with admonitions like, “Use your head”, “If one way doesn’t work out, try another” and “Listen to me, I am your mother.” But Son Ram answers, “I hear you, I hear you!” and obeys in his own way, with unintended consequences and trouble. His impetuous ways result in their banishment, first to the edge of the village and then to the center of the forest. Trying to be a hero, Son “biff, bops” an ox in the farmer’s field, and in fear, runs away, causing a fire which destroys the crops. The King banishes them from the earth to the sky where they live today. Son still gets away from home even today, returns to earth and streaks lightning, causing trouble. Ma calls after him but he does not always listen.

3.      CRITICAL ANALYSIS

Award-winning author and illustrator Ashley Bryan has again produced a folktale that speaks to children in a conversational, easy manner they can relate to. His pour quoi folktale, The Story of Lightning and Thunder, explains the origin of the weather effects while also giving a few life lessons. Based on a folktale from Folk Stories from Southern Nigeria, West Africa, by Elphinstone Dayrell (London: Longmans Green, 1910), 70-71, as cited on the copyright page, the story has been slightly changed from the original, tamed, with the omission of killing people. Also, in Bryan’s version, the Ram acts not out of bad temper, but rather childish impetuousness. Bryan shows the consequences of not listening to your elders. Repetitive parental phrases from Ma, like, “Listen to me” and “Use your head” and the responses of “I hear you, I hear you!” from Son reflect typical everyday conversations between parents and children. Further admonitions and the use of proverbs by the King reinforce the authority of grownups. Dramatic tension builds between those who wish for Son to obey and Son, who wishes to do things his own way. Bryan expresses Son’s disobedience using onomatopoeia words, such as “biff, bam, butt”, which lead to humorous wordplays, such as Ma’s rebuke, “Whatever you do, no more biff, bam, butts out of you!” Even Ma’s use of “Baa-ba-lam” adds humor and irony to the story making it a delight to listen to and read, teaching children a moral lesson without being heavy-handed. Bryan’s lyrical, flowing prose is punctuated with several well-placed Uh-huh’s to keep attention, making the act of reading the story like listening to a storyteller. The clever last line of “I know somebody like that too, uh-huh, I do, but I’m not saying who” ensures that children know who the author is referring to.

Ashley Bryan’s bright, colorful illustrations convey energy and emotion, reflecting pride, joy, anger, contentment, surprise, playfulness, shock, sorrow, and dismay, working with the story to help children understand better the whole range of human emotions. The King is proud of Ma Thunder sheep and Son Lightning Ram’s accomplishment in bringing Rain, but later, readers can see the King’s wrath at having the crop lands destroyed. The characters display the full range of emotional responses, with the exception of remorse on the part of Son, to things that happen in everyone’s life, including those unexpected consequences from misbehavior. The stained glass-like watercolor illustrations are vibrant, visually representing the force of thunder and the spark of lightning, complementing the story while adding a visual dimension to the power of Bryan’s words.

Appropriate for self-readers in 2^nd through 5^th grade, as it is a bit too long for a beginner reader to conquer on their own, The Story of Lightning and Thunder is perfect for a read-aloud.   

4. REVIEW EXCERPTS

Booklist review: “The text has music and style and moves along quickly, thanks to the humor inherent in the exploits of the rambunctious ram...This is a solid title for reading aloud that will appeal to a wide age range.”

Publisher’s Weekly review: "Joyful in both word and palette, this African story tells why lightning and thunder reside in the sky and not on earth, as they once did.”

Kirkus Reviews: “A delightful adaptation of a Nigerian folktale…Written to be read aloud (perhaps to a rambunctious child), with bits of rhyme and unexpected wordplay… There is one of Bryan's uniquely vibrant, swirling, light-filled paintings on every page.” 

5. CONNECTIONS

*Explore the real reasons and science behind thunder and lightning. Have children draw pictures to illustrate storms. They could even share their own stories of storms. Discuss why folktales were used to explain weather phenomena.

*Act out the story with an informal reader’s theater. Everyone can participate as the story calls for villagers as well. Consider adding a few extra lines to allow villagers to express their feelings about what has happened in their village and their crop lands. Be sure to vocalize, or use noisemakers to recreate, the sounds of the book, such as the “Moorow!” of the Ox, the sound of thunder, the crackle of the fire, the woes of the villagers, etcetera.

*Other books involving lightning and thunder include:

Branley, Franklyn. Flash, Crash, Rumble, and Roll. ISBN 978-006-445179-6

Polacco, Patricia. Thunder Cake.  ISBN 978-069-811581-1

Schmith, JD. Thunder and Lightning: They’re Not So Frightening. ISBN978-141-205631-1

Zolotow, Charlotte, The Storm Book. ISBN  978-006-443194-1

CAT the CAT Who is THAT?

Image from Mo Willems

1.      BIBLIOGRAPHY

Willems, Mo. 2010. Cat the Cat Who is That? Ill. by Mo Willems. New York, NY:  Balzer + Bray, an imprint of HarperCollins Publishers. ISBN 978-0-06-172841-9  

 

2.  PLOT SUMMARY

In this predictable quick read, youngsters are introduced to polite greetings and how to make a friend. The story starts on the cover with the title question and the invitation of “Let’s find out!” Through Cat the Cat’s enthusiastic greetings to her friends and their happy responses, readers are able to glimpse their personalities. Cat the Cat is a little taken aback at the end, when in a twist of events, she encounters someone the likes of whom she has never met before. But in her brave, enthusiastic style, she reaches across the differences with an exuberant “Blarggie! Blarggie!” to make a new friend.

3.      CRITICAL ANALYSIS

Award-winning author Willem’s writing is very simple and repetitive, creating predictability to enable preschool readers to join in the fun and learn to read the large print words. Cat the Cat and her friends demonstrate the different ways to politely respond to our friends’ greetings. The statement that she “likes her friends!” reinforces the importance of friendship. Cat the Cat, initially reacting with shock at seeing the alien, is honest with her response, “I have NO idea.” After thinking about it, she models what is needed to make a friend-reaching out to someone different from you.  

Willem’s brightly colored, lively yet simple, cartoon drawings of Cat the Cat demonstrate her bubbly energy, conveying good humor and a joy of life. Her friends are modeling fun activities that children often do in their everyday lives. Cat the Cat is in motion for most of the book, until she meets the alien, when she stops to think about to handle the situation. Willems’ drawings are simple enough for children to draw their favorite characters for themselves.

With humor and energetic pictures, Mo Willems gently teaches young children how to make a friend. I expect to hear more calls of “Blarggie! Blarggie!” coming from libraries across the nation.

4. REVIEW EXCERPT(S)

Publisher’s Weekly review: “Willems provides just enough humor and surprise to entertain youngest audiences... Cat could become another favorite; her personality sparkles in expansive gestures and gleeful interactions.”

Booklist  review: “Once again, Willems avoids heavy messages and walks right into kids’ daily lives with this exuberant, clean-lined, animation-ready title that’s sure to widen his already vast fan base.”

5. CONNECTIONS

*Have the children create their own Cat the Cat stories with their drawings of the characters. Words can be added by a grownup (or not!)

*Play “Who is that?” or “What is that?” identifying people or objects.

*Gather other books by Mo Willems, like What’s your Sound Hound the Hound?  and Time to Sleep Sheep the Sheep. Examine what early concepts these books teach with humor and exuberance.

*Discuss the value of friendship and imagine what traits make all the characters in the book good friends.

*Check out Mo Willems’ blog at http://mowillemsdoodles.blogspot.com/ to see if there is a show or exhibit of his work near you, his website at http://www.mowillems.com/ to learn more about his characters, and Cat the Cat’s page at http://gomo.net/page.php?name=Home for little ones to see and interact with their favorite characters.

*Other books:

Willems, Mo. Elephant and Piggie books-14 currently available. The 15^th, Should I Share My Ice Cream? is due to be released June 14^th,  2011. ISBN 978-1-42-314343-7

Willems, Mo. Let’s Say HI to Friends Who Fly. ISBN 978-0-06-172842-6

 

Eloise: The Absolutely Essential 50th Anniversary Edition

1.      BIBLIOGRAPHY

Thompson, Kay. 2005. Eloise: The Absolutely Essential 50^th Anniversary Edition. Ill. by Hilary Knight. Scrapbook by Marie Brenner. New York, NY: Simon & Schuster Children's Publishing. ISBN 978-0-689-82703-7

2.  PLOT SUMMARY

In this classic picture book, originally published in 1955, Eloise, a six year city girl, lives on the top floor of the Plaza Hotel. She narrates her daily activities, which consist of doing many things that drive grownups crazy, like scuffing the woodwork and writing on the wall, with the energy of a dynamo. She explains the details of her life, from her Nanny, her dog Weenie, and her turtle Skipperdee to all her activities and all of the people she interacts with on a daily basis. Her mother is noticeably absent, yet well connected, as evidenced by Eloise’s repeated name-dropping. There is not a story per se, but rather a chronology of the havoc she wreaks, most definitively from a six year old perspective. This edition contains the original book repackaged with a scrapbook of the lives of author Kay Thompson and illustrator Hilary Knight, as well the background and impact of Eloise as a popular literary character.

3.      CRITICAL ANALYSIS

Thompson’s writing is straight-forward and simple, sounding much like what a six year old of the 1950’s might sound like. Children should be able to relate to Eloise’s perspective as she sees the world as her oyster and life as something that should be lived to the fullest every day. She only knows she is being a nuisance when grownups, such as the hotel manager, directly tell her so, otherwise she engages in the natural curiosity which all children possess in exploring their world. Her enthusiasm is contagious, yet some grownup readers might be concerned that her ideas which result in mischief are catching too (which may be why it was never read to me as a child). All in all, Eloise has good-natured fun, sharing her adventures and imaginings, such as when she imagines helping the firemen, the telephone operators, waiters and even the Board from General Motors. The book is well paced, although a bit on the long side by today’s standards.

Hilary Knight’s ink illustrations are humorous, adequately expressing Eloise’s exuberance. Splashes of pink enlivened the pictures and the color serves to explain which parts of the drawings are of Eloise’s imagination. Knight’s drawings are especially useful in areas of longer text, such as the fold-out elevator scene, where a child can gleefully trace Eloise’s path with their finger or even create one of their own. Eloise is drawn as a wild haired child, often in unladylike poses, which serve to reinforce that this is a book told from the perspective of a six year old who does things her own way. The expressions of the grownups often express their exasperation with Eloise, but she seems not to notice or mind.

The book is a playful romp through the imaginings and rawther grand adventures of an independent, capable little girl. Eloise is her own little person who speaks her mind.

4. REVIEW EXCERPT(S)

New York Times (1955): “Eloise defines New York in the way that Madeline defines Paris.”

New York Times (1999): “Kay Thompson's heroine offers timeless lessons on how to have fun and torture grown-ups.” 

5. CONNECTIONS

*Examining differences in our daily existences, country versus city life.

*Gather other Eloise books such as Eloise in Paris or Eloise in Moscow and read about her experiences in other cultures. Discuss questions such as “How might we be (or not be) sensitive to other people’s culture in what we do or say?”

*Other books about spirited children:

Bemelmans, Ludwig. Madeline. ISBN 978-0-670-44580-6

Falconer, Ian. Olivia. ISBN 978-0-689-82953-6

O’Connor, Jane. Fancy Nancy. ISBN 978-0-060-54209-2

The Invention of Hugo Cabret

1.      BIBLIOGRAPHY

Selznick, Brian. 2007. The Invention of Hugo Cabret. Ill. by Brian Selznick. New York, NY:  Scholastic Press.  ISBN 978-0-439-81378-5 (hardcover).   

2.  PLOT SUMMARY

Award winning author and illustrator, Brian Selznick, has once again created a unique, spell-binding novel for 9-12 year olds, innovatively told through a blend of text, drawings, and photographs with the drama of cinema woven throughout. His carefully constructed story tells the adventures of the clever, twelve-year-old orphan, Hugo Cabret, accidental timekeeper of the 1931 Paris railroad station, as he pursues the completion of his dead father’s final project, an automaton, culminating in the invention of Hugo himself as a young man. 

3.      CRITICAL ANALYSIS

The well-paced story is thoughtful and endearing. Selznick develops characters that readers can empathize with, gently teaching the rewards of loyalty, persistence, diligence, honesty, courage, and hard work. Two stories, first of Hugo and then of Georges Méliès, are told within the novel, because, as Selznick writes, “stories lead to other stories.” The various mysteries will keep readers turning the page: Who is the girl? What happened to the notebook? Why is the toy shop man so against Hugo’s ambitions? At 534 pages, young readers will finish the story with a sense of accomplishment for having read the large yet entertaining book.

Not strictly a chapter book with its abundant illustrations, it is more graphic novel or picture book, yet exudes a strong feeling for the cinema arts, all of which work together to produce a unique reading experience one will not want to miss. The text is framed on two page spreads as if from a silent movie, and stills, both drawings and historical photographs, convey the feeling of the cinema. Selznick’s well-composed, emotive shades-of-grey pencil drawings add texture, mystery, and drama, especially in sequences such as the approaching train. Readers are drawn into the adventures through the drawings, as they look over the shoulders of the characters to watch events unfold, such as the automaton performing its magic. Photographs incorporated from real events of the time period, such as the train wreck and stills from George Méliès and his films, add drama and realism to the story. Overall, the illustrations convey mood and the sensation of watching a silent movie while reading the book, resulting in an innovative expansion of the idea of what constitutes a novel.

Be sure to check out the companion website to learn more about the author, the real magician and moviemaker, Georges Méliès, automata, and the upcoming movie based on the book at http://www.theinventionofhugocabret.com. 

4. AWARDS AND REVIEW EXCERPT(S)

2008 Randolph Caldecott Medal
National Book Award Finalist
#1 New York Times Bestseller
USA Today Bestseller
#1 BookSense Bestseller
New York Times Best Illustrated Book of 2007
Publishers Weekly Best Book of 2007
Kirkus Best Book of 2007
New York Public Library Best Book for Reading and Sharing
American Library Association Notable Children's Book
American Library Association Best Book for Young Adults
2007 Quill Award Winner in the Children's Chapter/Middle Grade category

Starred review in The Horn Book: “Complete genius.”

Starred review in School Library Journal: “Breathtaking.”

Starred review in The Bulletin of the Center for Children’s Books: “An original and creative integration of art and text.”

Starred review in Kirkus Reviews: “Fade to black and cue the applause!”

New York Times Book Review: “It’s wonderful. Take that overused word literally: Hugo Cabret evokes wonder.”

 

5. CONNECTIONS

*Explore robots and automata. What are they capable of?  How are they made?

*Watch an old silent movie or excerpt, particularly one of Georges Méliès’ films, such as A Trip to the Moon or Harold Lloyd’s Safety Last.

*Investigate Paris of the Third Republic time period. Develop maps and plot landmarks using Google Books, Google Images, and Google Maps.

*Learn more about magicians and their tricks, such as card tricks.

*Discuss mythologies and superstitions mentioned in the book, such as the Man on the Moon.

*Other series books about children surviving by their wits:

Rowling, J.K. Harry Potter and the Sorcerer’s Stone. ISBN 978-0-545-06967-0

Snicket, Lemony. The Bad Beginning (A Series of Unfortunate Events #1). ISBN 978-0-064-40766-3

*Other related books:
Charlip, Remy. Fortunately. ISBN 978-0-689-71660-7

Wood, Gaby. Edison’s Eve. ISBN 978-1-400-03158-0

Clee, Paul. Before Hollywood ISBN 0-618-44533-1

Sinclair, George. Historic Maps and Views of Paris. ISBN 978-1-579-12798-5