Ask Me No Questions by Marina Budhos

 

BIBLIOGRAPHY

Budhos, Marina.  2006. ASK ME NO QUESTIONS.  New York: Antheneum Books for Young Readers.  ISBN 9781416903512

PLOT SUMMARY

Years after immigrating from Bangladesh to the United States, Nadira and her family find themselves seeking asylum in Canada after their visas have expired; they had been living illegally in the United States for several years.  However, after being denied admittance into the Canadian country, Nadira's life falls to pieces when she sees her father arrested and taken into custody.  ASK ME NO QUESTIONS documents Nadira and her family's experience while they await for her father's fate at his immigration hearing.

CRITICAL ANALYSIS

This powerful novel allows young readers a glimpse of the immigrant experience living in America.  Set in New York City, ASK ME NO QUESTIONS chronicles the events and  feelings of fourteen year old, Nadira, whose family has migrated from Bangladesh and has made life for themselves in the United States.  Nadira describes herself as being chubby and ordinary, eating Sugar Babies and SweeTarts, and enjoying contemporary artists such as Britney Spears.  Her sister, Aisha, is known as the smart one,  always saying the right thing, and is in the running to be chosen as the school valedictorian.  Her mother is limited in her English-speaking ability, but is relaxed in observing  Muslim traditions such as fasting for Ramadan or praying the required five times day.  Nadira's father, known as Abba, is described as being grateful for the opportunity the United States provides for the family: "Abba loves this country in his own way; it's like this bowl he carries in his hear- so full, so ready to trust." 

Life seems ordinary for the family until the events of September 11th, in which society begins to view her and her Muslim community as outsiders.  She describes an incident in which bullying and harassment occurs: "a man who had one side of his face bashed in, and another who was run off the road in his taxi and called bad names."  Nadira also describes a time her older sister, Aisha, comes home crying because of the school kids make fun of her hijab head scarf; and how "some Pakistani kids walking down Northern Boulevard" were called "dirty Arabs" because of the way she looked.  In a powerful statement, Aisha tells the audience, "Overnight, we, the invisible people, became visible.  We became dangerous.  We became terrorists, people with bombs in our luggage, poison in our homes."  Nadira echoes these thoughts as she says "We watched the news of the war and saw ourselves as others saw us: dark, flitting shadows, grenades blooming in our fists.  Dangerous."  These honest revelations about the harassment and prejudice experienced within the Muslim community impacts all readers as they begin to develop an understanding of those whose life experience is different from their own. 

Nadira also describes how law enforcement and the enactment of laws by the federal government post 9/11 have impacted the Muslim community.  In a significant statement, Nadira describes to young readers, "We began to feel as if the air had frozen around us, trapping us between two jagged ice floes.  Each bit of news was like a pieces of hail flung at us, stinging our skin."  This is noticeably evident when people within the Muslim community begin to suddenly disappear without any notice.  Nadira and her family soon discover that many individuals have been detained for questioning, and have often been deported to Bangladesh.  The fear of her own family disappearing is brought to light when Nadira's sister, Aisha, confides in her, her own fear of being arrested and sent back to Bangladesh.  She describes a frightening nightmare in which "policemen come and tell me, 'You don't belong here.' Then they take me and lock me up in a cell with no light."  

Her family's fears are worsened when Nadira's own father is arrested and detained for having an expired visa while in the United States.  Young readers truly see how this immigration issue effects children when Nadira and Aisha describe their worries and fears over their father's detainment: "Aisha is finally saying what we're both afraid to imagine: Abba crouched in a cold dark cell. Abba sitting at some table with a ceiling lamp glaring down on his face.  Are they badgering him with questions?  Letting him sleep and bathe and pray?  Beating him with a stick until the bruises show like flowers?"  These very real worries bring to light the fears that many immigrant children may have when their own families are in jeopardy of being deported.  The stable and calm life they once had is now gone and fear and worry have taken its place instead.

Mixed into this story are cultural markers of the Muslim and Bengali community which add credibility to Budhos' novel.  The names are authentic (Aisha, Nadira, Taslima, Tareq) as are the details included about the Muslim culture (praying five times a day, fasting for Ramadan, and discussing the Koran).  As an added touch, Budhos weaves into the text authentic Bengali words and phrases to ensure readers are fully immersed in Nadira's world.

This powerful and moving story sheds light on the immigrant experience many share in the United States.  For some readers, they may see themselves reflected in this story while others may begin to finally understand and empathize with those whose life experiences are different from their own.  This compelling story will cause readers to reflect on their own attitudes and prejudices and instill in them a hope that things can be different.

REVIEWS

CHILDREN'S LITERATURE: "Inspiring and timely, this novel explores one of the most difficult issues facing the United States today in a compelling and highly readable way."

KLIATT REVIEW: "This is a powerful story, especially for those YAs who know something themselves about the immigration situation. Budhos doesn't make heroes of the illegal immigrants, but she illuminates the reasons why families stay here, and she focuses on the children who have grown up in America but who are threatened with deportation because of the mistakes of their parents."

THE BULLETIN OF THE CENTER FOR CHILDREN'S BOOKS: "Budhos has composed a compelling and thought-provoking contemporary examination of the human side of the law; further, in illustrating the secret burden that Nadira and Aisha carry with them to school each day as they pretend that nothing is the matter, she reminds readers to think differently about the people around them. Sure to elicit discussion, this novel would work very well for a teen book club selection."

CONNECTIONS

Have students listen to an interview the author, Marina Budhos, gives detailing how she brought this book to life.  This can be found at http://ia902302.us.archive.org/12/items/InterviewWithAuthorMarinaBudhos/Marina_Budhos_If_Youre_Just_Joining_Us.mp3

Hold a discussion with your class addressing immigration issues students hear in the news.  You can use reflective questions found in a reading guide located at http://iss.schoolwires.com/cms/lib4/NC01000579/Centricity/Domain/632/lg_amnq%20reading%20guide_0020.pdf

Where the Mountain Meets the Moon by Grace Lin

 

BIBLIOGRAPHY

Lin, Grace.  2009. WHERE THE MOUNTAIN MEETS THE MOON.  New York: Little, Brown and Company.  ISBN 9780316114271

PLOT SUMMARY

All of her young life, Menli finds the countless stories her father shares with her fascinating.  The family, which lives in the Valley of the Fruitless Mountain, spends their days working hard in the fields to provide food on the table.  One night, after listening to her father tell the story of "The Old Man of the Moon," Menli decides she is going to leave home in search of the Old Man to ask what her family must do to change their fortune.  Along the way, she encounters various characters and magical creatures who guide her on her journey.

CRITICAL ANALYSIS

In her novel, WHERE THE MOUNTAIN MEETS THE MOON, Grace Lin brings a wonderful, mythical tale to expose young readers to the myths and folklore that has been passed on through generations.  While doing so, she masterfully weaves a series of tales into the story's main plot to pull readers into a mystical world grounded in symbols and mythical creatures, especially dragons.  This is evident in one of the early stories Menli's father shares with her "The Story of Fruitless Mountain."  This tales describes how Jade Dragon and her four children - Pearl, Yellow, Long, and Black Dragon- help move the clouds and rain over the Fruitless Mountain region.  In this tale, these mystical creatures are able to transform into other entities, like rivers and lakes.  The story is used to explain how the four great rivers of the land came to be. 

 The motif of the dragon is also seen in one of the companions Menli encounters on her journey to find The Old Man of the Moon.  Known simply as Dragon, this talking mythical creature is beautifully described for young readers to imagine: He was "brilliant red, the color of a lucky lantern, with emerald-green whiskers, horns, and a dull stone-colored ball like the moon on his head."  The dragon creature is seen again when Menli finds that an old poor man is actually the King of the City of Bright Moonlight.  She is able to see behind his disguise when she spots him wearing a gold bracelet "embroidered with intricate dragons and multicolored clouds," a symbol that only royalty is allowed to have.  

To add to the playfulness and wonder of the story, other mythical creatures are weaved throughout Menli's journey.  A talking goldfish, which are symbolic of luck and prosperity, tells Menli how she can reach the Old Man on the Moon while a talking silver-colored fish helps Menli's parents find her.  In a humorous scene, Menli and Dragon must find a way to cross through a peach tree forest that is littered with combative, talking monkeys.  Knowing that these monkeys are attacking anyone who comes near the peach trees, Menli sets up a trap to distract the greedy monkeys.  

As Menli and Dragon seek to find the Old Man on the Moon, Lin provides readers with authentic details of the settings, customs, and traditions of the Chinese culture.  Menli's home community is described as a small, poor community where "the thin walls of their closely spaced homes" doesn't allow for much privacy.  When the family gathers for dinner, they share a meal consisting of boiling rice, cooked bamboo, and plums, using chopsticks to serve one another and sitting cross-legged on the wooden floor.  The Inner City of the Kingdom of Bright Moonlight is fortified by solid, gray stone walls, with many homes having "scalloped rooftop tiles."  Other cultural markers are seen in the names of the characters: Menli, which means "quick thinking," Ba, who is Menli's father, as well as Wu Kang, Da-A-Fu, and Amah.  Mention of Chinese celebrations, such as Moon Festival, are shared in the characters' dialogue and adds a subtle touch to the authenticity of the book.  

To bring the characters and mythical creatures to life, Grace Lin also includes vividly colored portraits throughout the book as well as in the chapter headings.  Rich shades of crimson red, navy blue, and teal green accompany the illustrations, which depict scenes such as the King's moonlit garden, Magistrate Tiger painting in the  black-coal eyes of Dragon, and the goldfish man holding water globe bowls to Menli.  The drawings help to reinforce the cultural details added in the text, and depict characters wearing traditional attire, such as kimonos and ojis.  As an added bonus, Lin's full page illustrations are outlined with borders containing Chinese symbols and items, such as gold coins, yellow suns, and purple lotus flowers.

REVIEWS

BOOKLIST: "With beautiful language, Lin creates a strong, memorable heroine and a mystical land. Stories, drawn from a rich history of Chinese folktales, weave throughout her narrative, deepening the sense of both the characters and the setting and smoothly furthering the plot. Children will embrace this accessible, timeless story about the evil of greed and the joy of gratitude."

CHILDREN'S LITERATURE: "Drawing inspiration from not only Chinese folktales but also American fairy tales like The Wonderful Wizard of Oz, Grace Lin has crafted a highly accessible and compulsively readable folktale, further enhanced by her beautiful full-color illustrations."

COOPERATIVE CHILDREN'S BOOK CENTER CHOICES: "Grace Lin deftly inserts a series of tales inspired by traditional Chinese folktales into the larger tapestry of Minli's extraordinary journey that is full of adventure and trials. Gorgeous book design augments this fast-paced fantasy, including occasional full-page color illustrations, chapter heading decorations, and a typeface treatment that visually distinguishes the folktale segments from the overarching story of Minli's quest."

CONNECTIONS

*Have students watch a book trailer as well as Grace Lin's interview on the Today Show in which she shares her motivation when writing this book:

http://www.gracelin.com/content.php?page=wherethemountainmeetsthemoon

*Have students create a WHERE THE MOUNTAIN MEETS THE MOON Activity book, board game, or event.  Handouts, templates, and directions can be found at http://www.gracelin.com/content.php?page=wherethemountainmeetsthemoon&display=activities

This Next New Year by Janet Wong

 

BIBLIOGRAPHY

Wong, Janet.  2000. THIS NEXT NEW YEAR. Ill. by Yangsook Choi. New York: Frances Foster Books.  ISBN 0374355037

PLOT SUMMARY

Janet Wong's book THIS NEXT NEW YEAR illustrates and describes how a young boy and his family celebrate the Chinese New Year.  The author touches on various topics such as preparing the food, exchanging gifts, cleansing the home, and attending New Year parades.  

CRITICAL ANALYSIS

Wong uses simple sentences throughout the text, with sentences spanning two pages.  Each page contains three to four sentences and allows easy flow from one page to the next.  Young readers learn that a traditional dish served for the Chinese New Year is duk gook soup; red envelopes filled with money are exchanged to wish wealth and prosperity to others; and families thoroughly sweep, mop, and dust their homes to clear away the previous year's bad energy and make room for luck and fortune.  By using these sentences sparsely, Wong allows readers to focus more on the vibrant and colorful images that appear on the pages.  

Choi's vibrant drawings  capture authentic cultural details of this fun and festive celebration.   As readers turn the page, they see images of children with different ethnicities and skin colors (light-tanned, white, brown, and black), different eye shapes (narrow, round, almond-shaped), and different hair styles (black, brown, blond) all preparing to celebrate the Chinese New Year.  The young narrator tells the audience that his best friend, Glen, who is of French and German descent, enjoys eating Thai food for the Chinese New Year while Evelyn, a girl friend of Hopi and Mexican descent, likes receiving the red stuff envelopes filled with money.  The inclusion of children and families from different ethnicities conveys the awareness and appreciation that other cultures have in celebrating this momentous Chinese holiday. 

Readers also get an inside glimpse into the home life of some Chinese families.  As the family happily gathers for the Chinese New Year dinner, the table is filled with various entrees such as fish, egg rolls, and dumplings.  As custom in the Chinese culture, the family sits on the floor on cushions and pillows. Red-colored banners and decorations hang from the ceiling, containing Chinese letters and symbols.  Although the narrator's family lives in contemporary society, as evidenced in their wearing of long trousers, sweaters, scarves, and mittens, the narrator still dons a customary red sash filled with gold-colored Chinese symbols on New Year's Day.  

The illustrations also depict the spirit and hope the families and community have as the Chinese New Year approaches.  Traditional celebratory customs and decorations for the Lunar New Year's Day are depicted throughout the entire text.  Young readers see two ornately decorated Chinese dragons which can be manipulated with long, flexible poles to simulate dancing.  These Chinese dragons are seen as a sign of strength and power, with the belief that they can ward off evil spirits and bad energy.  Young readers also see the excitement and anticipation in the children's and parent's faces as they stand under softly illuminated paper lanterns of various shapes, colors, and sizes.   Choi's illustrations also capture the family lighting a string of red firecrackers to "scare bad luck away" as the midnight hour ushers in the Chinese New Year.

The combination of Wong's playful verses and Choi's festive drawings bring the spirit of the Chinese New Year to life by providing culturally authentic representations.  Readers of all ages will want to learn more about the cultural background, traditions, and experiences of the Chinese culture.

REVIEWS

BOOKLIST: "Choi's smooth, brightly colored paintings--filled with firecrackers, dragons, and other cultural symbols--ably illustrate the optimistic activity and the yearning in the accessible, rhythmic text. Children of diverse backgrounds will connect with the boy's earnest desire to help change the family's luck and realize his own potential."

CHILDREN'S LITERATURE: "Yangsook Choi brings the celebration vividly to life with her bright, vibrant pictures."

KIRKUS: "Wong's poetic voice creates art from the ordinary... lively, two-page spreads in bright colors, perfectly complement the energetic text, adding visual reinforcement to the scenes described by the narrator."

CONNECTIONS

Pair this story up with an app recommended by the illustrator, Yangsook Choi.  "Oy China" is a free app students can download to their iPads to create their own festive dragons for the Chinese New Year.  The app may be accessed and downloaded at http://www.yangsookchoi.com/

Have students read other pictures books describing the Lunar New Year's Day:

Chinn, Karen.  SAM AND THE LUCKY MONEY.  ISBN 1880000539

Lin, Grace.  BRINGING IN THE NEW YEAR.  ISBN 0375866051

Lin, Grace.  DIM SUM FOR EVERYONE.  ISBN 0440417708

The Boy in the Garden by Allen Say

BIBLIOGRAPHY

Say, Allen.  2010. THE BOY IN THE GARDEN. Boston:  Houghton Mifflin Hartcourt.  ISBN 9780547214108

PLOT SUMMARY

To celebrate the new year, Jiro and his father pay a visit to Mr. Ozu.  As the adults converse, Jiro escapes to the garden and spots what he thinks is a real-life crane, but is actually a bronze statue.  Embarrassed that the adults find his error "charming," Jiro runs away and finds refuge in a small, empty cottage, where he discovers a warm bowl of soup simmering over a fire as well as a kimono that's just his size.  A beautiful woman greets him by name and offers him food and shelter from the cold.  Jiro is sure this is the Crane Woman from his mother's mystical story and is afraid that she will disappear, just as she did in his mother's tale.  Soon Jiro finds himself in a strange fantasy world where he must determine what is real and what isn't.

CRITICAL ANALYSIS

Allen Say's book begins with the brief folktale "The Grateful Crane," in which a man frees a crane trapped in a snare; later that night, a beautiful woman knocks on his door seeking shelter from the cold.  The two end up falling in love and get married.  As the couple struggles to make ends meet, the woman weaves fabric that brings wealth to the family; however, each time she does, she tells her husband not to peek as she works.  However, one night, curiosity gets the better of him and discovers a crane doing the work.  It is revealed that it is the crane the man saved many years ago, but changed into a woman to be his wife.  By prefacing his own story with this folktale, Say preserves "The Grateful Crane" story for future generations to come. 

Although identification of a specific culture, a particular language or dialect is not referenced in the text, audience members gather that this story takes place in Japan by the descriptions of holidays and customs.  As the THE BOY IN THE GARDEN begins, readers learn that young Jiro and his father are visiting the wealthy Mr. Ozu for New Years, which is celebrated on the third day of January.  As a sign of prosperity, Mr. Ozu gifts Jiro with a red envelope containing money.  In the Asian American culture, the tradition of exchanging gifts in a red envelope symbolizes wishing others luck on a new start.   Other cultural details that clue readers in to the Japanese culture are found in the characters' names ( Jiro, Jiro-san, Mr. Ozu) as well as brief mention of a kimono and the obi. 

The Japanese culture is brought to life for young readers through Say's exquisite, detailed pencil and watercolor illustrations.  Accurate details consistent with the Asian American culture can be seen in the detailed illustrations depicting the various settings and architecture of the story.  For example, Mr. Ozu's lush tranquil garden contains a bamboo fountain, garden basins, and granite lanterns.  Wooden posts support a curved roof, which serve as the entrance to the property.  As Jiro wanders through the house and outside cottage, wooden beams and Shoji screens made of translucent paper panels on sliding doors section off different areas of the house and rooms.  In one particular image, readers see Jiro peering at the bronze crane statue through tall, latticework framed windows that reach the entire length of the wall.  The simplicity and tranquility found in these illustrations are reminiscent of the unobtrusive beauty found in Asian American culture.

Other cultural markers used in Say's illustrations can be found in the characters' attire and physical characteristics as well the everyday customs they are seen observing.  The varied skin tones of the characters range from Jiro's olive complexion to the Crane Woman's snow white skin, symbolic of the make-up  powder worn by Japanese geishas, who act as hostesses.  Also, the characters have  distinctive facial features, especially the eyes, as well as straight, black-colored hair.  As readers turn the pages, they see characters wearing traditional Japanese clothing:  Jiro is seen wearing a purple-lined blue-plaid flannel kimono with a pink-colored obi while the Crane Woman dons a pink-lined, white kimono with a green obi.  When Jiro first meets the Crane Woman, she is carrying a cream-colored, paper parasol umbrella.   As they share in their dinner, both are seen kneeling on the floor sitting seiza-style around an active fire pit.  These culturally authentic representations enlighten young readers and provide them with rich details that can be found in the Asian American culture.

REVIEWS AND AWARDS:

CHILDREN'S LITERATURE: "Say uses watercolors to create his full-page naturalistic scenes of the characters, buildings, and garden. Jiro is a curious, attractive youngster. The woman in her white robe and long black hair is convincingly magical. The visuals add significantly to the tone and emotions of the fantasy."

KIRKUS: "Say is at the height of his artistic achievement in this tale of a little boy named Jiro and the powerful impact that a story has on him... A series of dreamlike paintings done in the Caldecott winner's customarily precise and beautifully lit watercolors blurs the lines between reality and fantasy... This is a beautiful, moving, quietly mysterious read, ripe with possibilities for interpretation and contemplation."

CONNECTIONS

Have students listen to an interview by the Allen Say in which he discusses his experience in writing and illustrating children's  books.  The link can be found at http://www.readingrockets.org/books/interviews/say

Students may also read through an interview given by Allen Say discussing his writing and drawing process when creating a new book.  This interview may be found at http://www.rif.org/kids/readingplanet/bookzone/say.htm

Have students read other picture books by Allen Say:

Say, Allen.  EMMA'S RUG. ISBN 0618335234

Say, Allen.  GRANDFATHER'S JOURNEY.  ISBN 0547076800

Say, Allen.  TEA WITH MILK.  ISBN 0547237472

Say, Allen. TREE OF CRANES.  ISBN 054724830X