Bibliography
Kimmel, Eric. 1995. The Goose Girl: A Story from the Brothers Grimm. Ill. by Robert Sauber. New York, NY: Holiday House. ISBN 0823410749.
Plot Summary
An innocent princess sets out from her homeland to meet her betrothed prince. Accompanied on the journey by her serving maid Margaret, the princess quickly discovers the cruelties of the world when Margaret usurps the princess’s position and presents herself to the prince as his bride. With nowhere to turn, the princess is forced to work herding geese for the king. When the king discovers the true princess in the meadow with the geese, Margaret is compelled to face her misdeeds. She seals her own fate when she is asked how to punish an abusive serving maid and she condemns the maid to a violent death.
Critical Analysis
From “Once upon a time…” until “…happily ever after,” this beautifully illustrated retelling of the Brothers’ Grimm fairy tale is filled with the symbolic characters of traditional lore. Sent to her betrothed by her doting mother, the mild-mannered and kind princess is pushed down by the greedy and self-serving maid, who goes on to deceive all who meet her. But, the caring and paternal king acts quickly to restore justice when the maid’s deception is brought to light. The story is told simply and quickly, but is still filled with details to capture the reader’s imagination. The princess rides Falada, a talking horse who retains his power of speech even after he is put down and his head hung upon a gate. Until it is lost, the princess is protected by a linen handkerchief stained with three drops of her mother’s blood. Finally, throughout the story, Falada echoes his refrain, “If your mother were to see/Her heart would burst with grief for thee.”
These details and many others are richly portrayed in Sauber’s carefully crafted paintings. Each page, a framed work in itself, reflects the events of the story, varying from close-up looks at the characters to wide shots of the action. The regal setting is apparent in the lavishly painted garments and bejeweled royalty and Sauber skillfully captures the expressions appropriate to the archetypal characters. Young readers hearing this story aloud will have no trouble identifying the persecuted princess or the mischievous maid.
Review Excerpts
From Publisher’s Weekly – “…Kimmel revels in the magical, wistful aspects of this fanciful genre.”
From School Library Journal – “The story is propelled by Kimmel's perfect pacing and phrasing and by the vitality of the oil paintings, achieved through a sense of rapid dashes of color, with some scenes having an almost unfinished quality.”
Sunday, June 27, 2010
Review of PORCH LIES: TALES OF SLICKSTERS, TRICKSTERS AND OTHER WILY CHARACTERS
Bibliography
McKissack, Patricia M. 2006. Porch Lies: Tales of Slicksters, Tricksters, and other Wily Characters. Ill. by Andre Carrilho. New York, NY: Random House. ISBN 037593619X.
Plot Summary
McKissack has crafted a collection of tales distilled from the stories heard on her grandparent’s front porch. Filled with original characters, McKissack gives voice to the storytellers of her youth through her fictional tales. Each of the nine stories is dedicated to a friend or family member and credited to a particular “porch liar” from her youth. According to the Author’s Note opening the volume of tales, the intention of these stories is to teach a value, encourage critical thinking, or offer pure entertainment. Beginning with a “confidencer” named Pete Bruce using flattery to con a baker-woman out of a coconut cream pie, and including a elderly aunt using the infamous James' brothers to save her land, these Porch Lies fulfill the desired intent.
Critical Analysis
McKissack opens her anthology with a disclaimer: This is a work of fiction. Yet, the tall tales ring with authenticity. As she introduces each storyteller, they appear in the porch swing and their voices spill from the pages. The reader is immediately drawn into the story as the words paint pictures in the mind. Sparsely illustrated by Andre Carrilho, the black and white caricatures of each main character seem almost superfluous to McKissack’s clever writing. However, as each drawing showcases the trickster at a turning point of the story the illustrations accentuate the truths inherent within the tales. With or without the illustrations, these tales beg to shared, read aloud, and enjoyed. So, as McKissack invites in her note, “...find a comfortable spot; and pour yourself a class of lemonade.” And if you listen closely, you can hear the crickets chirping in the night.
Review Excerpts
From Booklist, Starred Review – “…the nine original tales in this uproarious collection draw on African American oral tradition and blend history and legend with sly humor, creepy horror, villainous characters, and wild farce.”
From School Library Journal – “They contain the essence of truth but are fiction from beginning to end, an amalgam of old stories, characters, jokes, setups, and motifs.”
McKissack, Patricia M. 2006. Porch Lies: Tales of Slicksters, Tricksters, and other Wily Characters. Ill. by Andre Carrilho. New York, NY: Random House. ISBN 037593619X.
Plot Summary
McKissack has crafted a collection of tales distilled from the stories heard on her grandparent’s front porch. Filled with original characters, McKissack gives voice to the storytellers of her youth through her fictional tales. Each of the nine stories is dedicated to a friend or family member and credited to a particular “porch liar” from her youth. According to the Author’s Note opening the volume of tales, the intention of these stories is to teach a value, encourage critical thinking, or offer pure entertainment. Beginning with a “confidencer” named Pete Bruce using flattery to con a baker-woman out of a coconut cream pie, and including a elderly aunt using the infamous James' brothers to save her land, these Porch Lies fulfill the desired intent.
Critical Analysis
McKissack opens her anthology with a disclaimer: This is a work of fiction. Yet, the tall tales ring with authenticity. As she introduces each storyteller, they appear in the porch swing and their voices spill from the pages. The reader is immediately drawn into the story as the words paint pictures in the mind. Sparsely illustrated by Andre Carrilho, the black and white caricatures of each main character seem almost superfluous to McKissack’s clever writing. However, as each drawing showcases the trickster at a turning point of the story the illustrations accentuate the truths inherent within the tales. With or without the illustrations, these tales beg to shared, read aloud, and enjoyed. So, as McKissack invites in her note, “...find a comfortable spot; and pour yourself a class of lemonade.” And if you listen closely, you can hear the crickets chirping in the night.
Review Excerpts
From Booklist, Starred Review – “…the nine original tales in this uproarious collection draw on African American oral tradition and blend history and legend with sly humor, creepy horror, villainous characters, and wild farce.”
From School Library Journal – “They contain the essence of truth but are fiction from beginning to end, an amalgam of old stories, characters, jokes, setups, and motifs.”
Review of CINDY ELLEN: A WILD WESTERN CINDERELLA
Bibliography
Lowell, Susan. 2000. Cindy Ellen: A Wild Western Cinderella. Ill. By Jane Manning. New York, NY: HarperCollins. ISBN 0060274468.
Plot Summary
Sweet Cindy Ellen suddenly has the “orneriest woman west of the Mississippi” as her new step-mother, complete with two nasty step-sisters. She soon finds herself spending less time on her horse and more time tending to the many chores around the ranch while her mean step-sisters do nothing. When the “biggest cattle king for miles around” announces a rodeo and square dance for all the neighbors, the step-sisters gussy up for the celebration, leaving Cindy in the dust. But Cindy’s fairy godmother, with her golden six-gun shooting sparks of fairy dust, quickly comes to Cindy’s aid and outfits Cindy and her horse properly for the big rodeo – right down to diamond-studded spurs.
Cindy rides off to the rodeo and quickly captures the attention of the cattle king’s son, Joe Prince, but races away before he learns her name. She returns the next evening for the square dance, again equipped by her fairy godmother, this time capturing Joe Prince’s heart. When the clock begins to strike midnight, though, Cindy “hightail[s] it out of there” leaving only a sparkling spur on the trail. Of course, Joe finds the spur and tracks Cindy Ellen to her father’s ranch. When the spur fits, they get hitched and ride off into the sunset where they live happily ever after.
Critical Analysis
In this Cinderella tale with western swing, Lowell provides a unique twist to the oft-told story. Cindy Ellen’s fairy godmother throws in a little something extra when she helps Cindy prepare for the rodeo: the gift of “gumption.” This simple addition takes our heroine from beautiful mystery woman to an energetic competitor not content to sit on the sidelines. With her new found “gumption,” Cindy jumps spurs-first into the rodeo crying, “My turn!”
By including the rodeo in addition to the “night at the ball” square dance, Lowell allows this Cinderella to wrangle her Prince with her horsemanship, not just her beauty, and deftly defuses sexist arguments against the familiar fairy tale. However, this twist will go largely unnoticed by Lowell’s intended audience; they will simply enjoy the hilarious take on a favorite princess. The bold illustrations clearly place Cindy Ellen and friends in the dry western desert region of the USA and the bright colors draw the eye to the southwestern attire. Drawn from a variety of perspectives and portraying the characters’ true personalities, the illustrations combined with the western vernacular are sure to draw forth smiles.
When read aloud, all ages will appreciate this story – ages 3 to 12 gathered ‘round as I opened this book. You might want to test your “Yee-haw” before reading, though!
Awards and Review Excerpts
With older students, have small groups write their own version of Cinderella.
Lowell, Susan. 2000. Cindy Ellen: A Wild Western Cinderella. Ill. By Jane Manning. New York, NY: HarperCollins. ISBN 0060274468.
Plot Summary
Sweet Cindy Ellen suddenly has the “orneriest woman west of the Mississippi” as her new step-mother, complete with two nasty step-sisters. She soon finds herself spending less time on her horse and more time tending to the many chores around the ranch while her mean step-sisters do nothing. When the “biggest cattle king for miles around” announces a rodeo and square dance for all the neighbors, the step-sisters gussy up for the celebration, leaving Cindy in the dust. But Cindy’s fairy godmother, with her golden six-gun shooting sparks of fairy dust, quickly comes to Cindy’s aid and outfits Cindy and her horse properly for the big rodeo – right down to diamond-studded spurs.
Cindy rides off to the rodeo and quickly captures the attention of the cattle king’s son, Joe Prince, but races away before he learns her name. She returns the next evening for the square dance, again equipped by her fairy godmother, this time capturing Joe Prince’s heart. When the clock begins to strike midnight, though, Cindy “hightail[s] it out of there” leaving only a sparkling spur on the trail. Of course, Joe finds the spur and tracks Cindy Ellen to her father’s ranch. When the spur fits, they get hitched and ride off into the sunset where they live happily ever after.
Critical Analysis
In this Cinderella tale with western swing, Lowell provides a unique twist to the oft-told story. Cindy Ellen’s fairy godmother throws in a little something extra when she helps Cindy prepare for the rodeo: the gift of “gumption.” This simple addition takes our heroine from beautiful mystery woman to an energetic competitor not content to sit on the sidelines. With her new found “gumption,” Cindy jumps spurs-first into the rodeo crying, “My turn!”
By including the rodeo in addition to the “night at the ball” square dance, Lowell allows this Cinderella to wrangle her Prince with her horsemanship, not just her beauty, and deftly defuses sexist arguments against the familiar fairy tale. However, this twist will go largely unnoticed by Lowell’s intended audience; they will simply enjoy the hilarious take on a favorite princess. The bold illustrations clearly place Cindy Ellen and friends in the dry western desert region of the USA and the bright colors draw the eye to the southwestern attire. Drawn from a variety of perspectives and portraying the characters’ true personalities, the illustrations combined with the western vernacular are sure to draw forth smiles.
When read aloud, all ages will appreciate this story – ages 3 to 12 gathered ‘round as I opened this book. You might want to test your “Yee-haw” before reading, though!
Awards and Review Excerpts
Western Writers of America Spur Award
Kirkus Review – “Bright, stylish…. Manning tricks out her characters in dazzling modern cowboy dress.”
Horn Book Review - “Expressive regional turns of phrase and exuberant full-color comic illustrations in skewed perspectives place the action squarely in the dry desert of the West.”
Connections
Thursday, June 17, 2010
A Review of A CALDECOTT CELEBRATION: SIX ARTISTS AND THEIR PATHS TO THE CALDECOTT MEDAL by Leonard S. Marcus
1. BIBLIOGRAPHY
Marcus, Leonard S. 1998. A Caldecott Celebration: Six Artists and Their Paths to the Caldecott Medal. New York: Walker and Company. ISBN 0802786588.
2. PLOT SUMMARY
In honor of the 60th anniversary of the Caldecott Medal, Marcus interviews six winning illustrators from each decade. The opening introduction includes background on Randolph Caldecott, the award’s namesake, and the history of the award. Interviews include details on the artists’ entry into their careers, original sketches from the award-winning books, and their reactions to winning the renowned prize. Included are Robert McCloskey, 1942 winner for Make Way for Ducklings; Marcia Brown, 1955 winner for Cinderella; or The Little Glass Slipper; Maurice Sendak, 1964 winner for Where the Wild Things Are; William Steig, 1970 winner for Sylvester and the Magic Pebble; Chris Van Allsburg, 1982 winner for Jumanji; and David Wiesner, 1992 winner for Tuesday.
3. CRITICAL ANALYSIS
Enjoyable for young and old alike, Marcus throws open the doors of award-winning illustrators’ studios for all to see. Moving beyond the usual biographical information and tricks of artistry, Marcus shares unique details about each author/illustrator and their Caldecott experience. Beginning with one of the earliest Caldecott recipients, Marcus reveals that Robert McCloskey had never heard of the Caldecott Medal before winning it in 1942. Marcia Brown divulges the secret to choosing her publisher: she was headed for Viking Press, on the seventh floor of their building, but an elevator strike stopped her at Scribner’s on the fourth floor. Marcus also traces the journey of each book from the moment of inception to the author’s award-winning moment. Any fan of storybook art will appreciate the early sketches, editorial communications, and final products.
The stories of artists’ beginnings, such as Maurice Sendak’s “discovery” while working as a window decorator for F. A. O. Schwarz in New York, will inspire any young artist hoping to make a career of their craft. These young artists will have to glean their own tricks of the trade from the interviews, though. Marcus stops short of asking the artists to offer advice to young future illustrators. The book includes a table of contents for quick access to a favorite title, a complete listing of winners, a glossary of terms, and an index of proper nouns.
This book was a surprisingly fun read and I found myself sharing tidbits of information with my family as I learned new details about the authors. I particularly enjoyed seeing the development of Sendak’s Where the Wild Things Are and noting the amount of change from his original idea to the finished product.
4. REVIEW EXCERPTS:
Starred Review in Booklist: “A lively, informative introduction to each book and its maker. A beautifully made book, this will serve as a fine resource for children interested in illustration and for teachers researching author/ illustrator studies.”
Starred Review in Publisher’s Weekly: “Filled with witty anecdotes and pithy observations, Marcus's approach to examining the works of six Caldecott Medalists will be of as much interest to adults as to picture book readers.”
5. CONNECTIONS:
McCloskey, Robert. Make Way for Ducklings. ISBN 0670451495.
- Brown, Marcia. Cinderella; or The Little Glass Slipper. ISBN 0689814747.
- Sendak, Maurice. Where the Wild Things Are. ISBN 0060254920.
- Steig, William. Sylvester and the Magic Pebble. ISBN 1416902066.
- Van Allsburg, Chris. Jumanji. ISBN 0395304482.
- Wiesner, David. Tuesday. ISBN 0395870828.
- Try illustrating a scene from a favorite story in the style of one of the featured artists.
- Discuss how the artist’s style affected the story. How would the story change if the artist illustrated differently?
A Review of THE INVENTION OF HUGO CABRET by Brian Selznick
1. BIBLIOGRAPHY
Selznick, Brian. 2007. The Invention of Hugo Cabret. Ill. by author. New York: Scholastic. ISBN 0439813786.
2. PLOT SUMMARY
Orphaned after his father’s death, Hugo is taken in by his drunken uncle and together they live in tiny room inside the walls of the Paris train station. When his uncle disappears, Hugo fears life in an orphanage. He assumes his uncle’s duties as clock-keeper of the station, maintaining his secret residence within the walls, where his story begins in 1931. Adept at the family business of clock-making and dreaming of becoming a magician, Hugo begins stealing small toys from a shop in the station. He uses the toys’ parts and a notebook from his father to reconstruct an automaton – father and son’s final connection. When the shopkeeper, Georges, catches Hugo in the act of stealing a mechanical mouse, Hugo believes his secret life is over, but when the man recognizes the drawings in Hugo’s notebook, the mystery begins. The shopkeeper’s God-daughter, Isabelle, befriends Hugo and the two embark on a search for the connection between Georges and Hugo’s automaton and the secret message the machine is poised to write. Their search takes them through the annals of French cinema and ultimately determines the future of Hugo’s dreams.
3. CRITICAL ANALYSIS
At 533 pages, this story hardly seems to be a picture book; yet with 284 pages of original drawings crucial to the plot, it isn’t quite a novel either. It is a combination of picture book, graphic novel and even film, according to the publisher, and it cries out to be read from the moment one skims its pages. The stark black-framed pages of text interspersed with richly textured pencil drawings imply a dark secret and invite one to discover the mystery. The story opens with a brief invitation to follow Hugo Cabret as he rushes through the crowded train station, then gives way to pages of illustrations through which the reader chases Hugo to his hiding place behind a clock face. Readers in a hurry may be tempted to speed through the pictures, but will soon realize that Selznick is showing rather than telling the story. As the story alternates between text and illustration, the reader is drawn in to Hugo’s world and gains sympathy for the young boy’s plight.
While some may question the plausibility of a 12-year-old boy living alone in a train station, Selznick’s matter-of-fact writing style lend credibility to the tale. Hugo is clearly a boy determined to make his own way in the world and achieve his goals. When his father’s notebook, his most valuable possession, is taken from him, he refuses to accept the loss and continues working to retrieve it. Without seeming to do so, the story illustrates the value of determination and working toward one’s goals, regardless of the circumstances.
I thoroughly enjoyed this book and read it cover to cover in one sitting. It is one of those books that you just don’t want to end. The characters come alive and call out to be watched as they move through the story, leaving the reader wanting to hear the rest of their story. To quote one 12-year-old reader, “That book is just cool!”
4. REVIEW EXCERPTS:
Caldecott Medal, 2008
from Cooperative Children’s Book Center: “Readers will be captivated by the fictional Hugo, whose quest encompasses the real-life French filmmaker Georges Méliès, as well as a sweetly satisfying search for friendship and family.”
Starred Review in Publisher’s Weekly: “Here is a true masterpiece—an artful blending of narrative, illustration and cinematic technique, for a story as tantalizing as it is touching.”
5. CONNECTIONS:
Ezra, Elizabeth. Georges Melies. ISBN 071905396X.
Peppe, Rodney. Automata and Mechanical Toys. ISBN 1861265107.
Selznick, Brian. The Houdini Box. ISBN 1416968784.
Selznick, Brian. 2007. The Invention of Hugo Cabret. Ill. by author. New York: Scholastic. ISBN 0439813786.
2. PLOT SUMMARY
Orphaned after his father’s death, Hugo is taken in by his drunken uncle and together they live in tiny room inside the walls of the Paris train station. When his uncle disappears, Hugo fears life in an orphanage. He assumes his uncle’s duties as clock-keeper of the station, maintaining his secret residence within the walls, where his story begins in 1931. Adept at the family business of clock-making and dreaming of becoming a magician, Hugo begins stealing small toys from a shop in the station. He uses the toys’ parts and a notebook from his father to reconstruct an automaton – father and son’s final connection. When the shopkeeper, Georges, catches Hugo in the act of stealing a mechanical mouse, Hugo believes his secret life is over, but when the man recognizes the drawings in Hugo’s notebook, the mystery begins. The shopkeeper’s God-daughter, Isabelle, befriends Hugo and the two embark on a search for the connection between Georges and Hugo’s automaton and the secret message the machine is poised to write. Their search takes them through the annals of French cinema and ultimately determines the future of Hugo’s dreams.
3. CRITICAL ANALYSIS
At 533 pages, this story hardly seems to be a picture book; yet with 284 pages of original drawings crucial to the plot, it isn’t quite a novel either. It is a combination of picture book, graphic novel and even film, according to the publisher, and it cries out to be read from the moment one skims its pages. The stark black-framed pages of text interspersed with richly textured pencil drawings imply a dark secret and invite one to discover the mystery. The story opens with a brief invitation to follow Hugo Cabret as he rushes through the crowded train station, then gives way to pages of illustrations through which the reader chases Hugo to his hiding place behind a clock face. Readers in a hurry may be tempted to speed through the pictures, but will soon realize that Selznick is showing rather than telling the story. As the story alternates between text and illustration, the reader is drawn in to Hugo’s world and gains sympathy for the young boy’s plight.
While some may question the plausibility of a 12-year-old boy living alone in a train station, Selznick’s matter-of-fact writing style lend credibility to the tale. Hugo is clearly a boy determined to make his own way in the world and achieve his goals. When his father’s notebook, his most valuable possession, is taken from him, he refuses to accept the loss and continues working to retrieve it. Without seeming to do so, the story illustrates the value of determination and working toward one’s goals, regardless of the circumstances.
I thoroughly enjoyed this book and read it cover to cover in one sitting. It is one of those books that you just don’t want to end. The characters come alive and call out to be watched as they move through the story, leaving the reader wanting to hear the rest of their story. To quote one 12-year-old reader, “That book is just cool!”
4. REVIEW EXCERPTS:
Caldecott Medal, 2008
from Cooperative Children’s Book Center: “Readers will be captivated by the fictional Hugo, whose quest encompasses the real-life French filmmaker Georges Méliès, as well as a sweetly satisfying search for friendship and family.”
Starred Review in Publisher’s Weekly: “Here is a true masterpiece—an artful blending of narrative, illustration and cinematic technique, for a story as tantalizing as it is touching.”
5. CONNECTIONS:
Ezra, Elizabeth. Georges Melies. ISBN 071905396X.
Peppe, Rodney. Automata and Mechanical Toys. ISBN 1861265107.
Selznick, Brian. The Houdini Box. ISBN 1416968784.
A Review of KNUFFLE BUNNY: A CAUTIONARY TALE by Mo Willems
1. BIBLIOGRAPHY
Willems, Mo. 2004. Knuffle Bunny: A Cautionary Tale. New York: Hyperion. ISBN 07868170-0.
2. PLOT SUMMARY
In the inaugural book of the Knuffle Bunny trilogy (Knuffle Bunny Too: A Case of Mistaken Identity, 2007, and Knuffle Bunny Free: an Unexpected Diversion to be published Fall 2010) toddler Trixie and her daddy set out for the Laundromat on an everyday adventure. The journey begins easily enough as the pair walks through the city to the Laundromat, Trixie helps load the laundry into the washer and they return home. Soon after leaving, though, Trixie realizes that something is amiss - her beloved Knuffle Bunny has been left at the Laundromat. Unfortunately, Trixie cannot talk yet, so her daddy cannot understand the problem, even after Trixie “bawl[s]” and goes “boneless.” Daddy wrestles the screaming Trixie home, where Trixie’s mommy quickly recognizes the problem. The whole family races back to the Laundromat where Daddy finally rescues the sodden Knuffle Bunny from the washer and Trixie utters her first words: “Knuffle Bunny!”
3. CRITICAL ANALYSIS
Using a combination of cartoon drawings against sepia-toned photographs and straight-forward writing, Willems deftly captures the trauma of a child’s lost “lovey” and every parent’s nightmare of the ensuing tantrum. This true story, “except for the parts I made up,” according to Willems, begins before the title page, with “framed” family photos of the wedding, Trixie’s birth, and the family in front of their home. Everyone is smiling happily, as they are when Trixie and Daddy set out on their errand. As the story progresses, the cartoon character’s expressions clearly convey the emotions of the tale: ranging from Trixie’s delight at a day with her Daddy, then her wide-eyed shock at the discovery of Knuffle Bunny’s disappearance to Daddy’s nonchalant whistling on the walk home, then his complete frustration with the inexplicable tantrum.
Willems’s understated prose allows the illustrations to tell the story and captivate the reader. At one point, Daddy even seems to make eye-contact with the reader as Willems writes, “By the time they got home, her daddy was unhappy, too.” As the family races to rescue Knuffle Bunny, their expressions vary from worried to frantic, then determined and concerned as the search goes on, finally breaking into smiles of relief and excitement as Knuffle Bunny is recovered. Through-out the story, the juxtaposition of the cartoon characters and photographed setting reflects the comedy inherent in many real-life situations.
4. REVIEW EXCERPTS:
Caldecott Honor Award
Starred Review in Publisher’s Weekly: “In an innovative style that employs dappled black-and-white photographs of Brooklyn as backdrop to wickedly funny color cartoons, Willems (Don't Let the Pigeon Drive the Bus! ) creates an entertaining story for parents and children alike.”
Cooperative Children’s Book Center: “Willems’s lighthearted look at parent-toddler dynamics never makes light of a child’s effort to communicate.”
5. CONNECTIONS:
Focus on Trixie’s many expressions. Ask children to describe the emotions displayed, avoiding the usual choices happy, sad, mad, etc. http://www.hyperionbooksforchildren.com/data/books/tgpdf/07868187001407.pdf
Read Knuffle Bunny Too: a Case of Mistaken Identity ISBN: 1423102991and discuss similarities and differences.
Ask students to write about a favorite toy, stuffed animal, or comfort item.
Willems, Mo. 2004. Knuffle Bunny: A Cautionary Tale. New York: Hyperion. ISBN 07868170-0.
2. PLOT SUMMARY
In the inaugural book of the Knuffle Bunny trilogy (Knuffle Bunny Too: A Case of Mistaken Identity, 2007, and Knuffle Bunny Free: an Unexpected Diversion to be published Fall 2010) toddler Trixie and her daddy set out for the Laundromat on an everyday adventure. The journey begins easily enough as the pair walks through the city to the Laundromat, Trixie helps load the laundry into the washer and they return home. Soon after leaving, though, Trixie realizes that something is amiss - her beloved Knuffle Bunny has been left at the Laundromat. Unfortunately, Trixie cannot talk yet, so her daddy cannot understand the problem, even after Trixie “bawl[s]” and goes “boneless.” Daddy wrestles the screaming Trixie home, where Trixie’s mommy quickly recognizes the problem. The whole family races back to the Laundromat where Daddy finally rescues the sodden Knuffle Bunny from the washer and Trixie utters her first words: “Knuffle Bunny!”
3. CRITICAL ANALYSIS
Using a combination of cartoon drawings against sepia-toned photographs and straight-forward writing, Willems deftly captures the trauma of a child’s lost “lovey” and every parent’s nightmare of the ensuing tantrum. This true story, “except for the parts I made up,” according to Willems, begins before the title page, with “framed” family photos of the wedding, Trixie’s birth, and the family in front of their home. Everyone is smiling happily, as they are when Trixie and Daddy set out on their errand. As the story progresses, the cartoon character’s expressions clearly convey the emotions of the tale: ranging from Trixie’s delight at a day with her Daddy, then her wide-eyed shock at the discovery of Knuffle Bunny’s disappearance to Daddy’s nonchalant whistling on the walk home, then his complete frustration with the inexplicable tantrum.
Willems’s understated prose allows the illustrations to tell the story and captivate the reader. At one point, Daddy even seems to make eye-contact with the reader as Willems writes, “By the time they got home, her daddy was unhappy, too.” As the family races to rescue Knuffle Bunny, their expressions vary from worried to frantic, then determined and concerned as the search goes on, finally breaking into smiles of relief and excitement as Knuffle Bunny is recovered. Through-out the story, the juxtaposition of the cartoon characters and photographed setting reflects the comedy inherent in many real-life situations.
4. REVIEW EXCERPTS:
Caldecott Honor Award
Starred Review in Publisher’s Weekly: “In an innovative style that employs dappled black-and-white photographs of Brooklyn as backdrop to wickedly funny color cartoons, Willems (Don't Let the Pigeon Drive the Bus! ) creates an entertaining story for parents and children alike.”
Cooperative Children’s Book Center: “Willems’s lighthearted look at parent-toddler dynamics never makes light of a child’s effort to communicate.”
5. CONNECTIONS:
Focus on Trixie’s many expressions. Ask children to describe the emotions displayed, avoiding the usual choices happy, sad, mad, etc. http://www.hyperionbooksforchildren.com/data/books/tgpdf/07868187001407.pdf
Read Knuffle Bunny Too: a Case of Mistaken Identity ISBN: 1423102991and discuss similarities and differences.
Ask students to write about a favorite toy, stuffed animal, or comfort item.
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