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

Lana's Lakota Moons by Virginia Driving Hawk Sneve

 

BIBLIOGRAPHY

Sneeve, Virginia Driving Hawk.  2007. LANA'S LAKOTA MOONS. Lincoln:  University of Nebraska.  ISBN 9780803260283

PLOT SUMMARY

Lakota tribe cousins, Lori, a shy and quiet young girl, and Lana, an adventurous risk-taker, grow up within the strong community network of their family and tribal members in South Dakota.  Although both girls are very competitive with one another, and are constantly bickering and fighting, their love and loyalty for one another is seen in the everyday acts such as gardening, watching television, and attending powwows.  As the story progresses, a young girl named Shoua moves to their community and immediately strikes up a friendship with both Lakota cousins.  Together, all three learn more about  Lakota traditions and culture from tribal members and the community.

CRITICAL ANALYSIS

As young readers turn the pages of LANA'S LAKOTA MOONS, they are introduced to the American Indian traditions of the Lakota Nation.  Set in a contemporary setting in South Dakota, Sneve heavily references many Lakota traditions and customs throughout the entire book.  The book twelve chapters reflect the twelve months of the year.  However, chapter titles correspond to the Lakota names given for each of the months.  For example, readers learn that the Lakota ancestors January is called "Moon of the Terrible" because "of the terrible cold that caused so many deaths"  while March is called "Moon When the Frost Covers the Prairie Chicken's Eyes" since " the weather gets warm, then gets cold again, and the poor prairie chickens wake up with frost on their eyelids."  Not only do these details pay homage to Lakota ancestry, but also emphasizes how they relied on nature and the phases of the moon to tell the seasons and months apart.  This is confirmed with the girls' grandmother tells them that since" the phases of the moon lasted for several days, it is sort of what is now known  as a month."

Sneve also includes authentic Lakota names with her characters.  Lori and Lana's grandparents are known as Grandma and Grandpa High Elk; Lana's boy friend is named Andy Brown Wolf; and the name of the holy man conducting a Lakota ceremony is Iron Shell.  In addition to using authentic Lakota names, Sneve characters also use terms and phrases from the culture.  For example, readers learn that pilamiye means thank you; Wicasa Wakan is the term used to refer to the holy man who will conduct a Lakota ceremony; and that wojoape is the chokecherry pudding dessert.  The attire and clothing Lakota ancestors wore is also included in the story.  Young readers learn that when the Lakota tribe moved between reservations, the "white ladies" taught Lakota women how to sew cloth into shirts and dresses, so there was no longer a need for Lakota members to use buckskin or animal hide to make their clothes.  

References are also made to Lakota folklore as well as traditions tribal members observe.  For example, Grandpa High Elk tells Lori and Lana about the mythical character, Iktomi.  This character from Lakota stories is described as a practical joke, who "tricked animals and people into doing things he wanted, but then he'd end up in trouble.  Yet he never learned."  Sneve also spends much of the story having Lana and Lori learn about a right-of-passage ceremony they will participate in known as the Naming Ceremony.  Grandma High Elk tells the two cousins they will receive new Lakota names to honor their ancestral roots and finally recognize them as women members of the tribe.  Lori is given the name Pejuta Okawin while cousin Lana is given Skanskanwin; both girls ask for the blessing of their Lakota community to bring honor to their family members.  The detailed description given by both girls' grandparents allow young readers to understand the significance of the ceremony as well as imagine the sights and sounds occurring as the girls step into womanhood.

The motif of four is also used in the story to mirror the Four Directions as well as the four seasons.    As Lori and Lana prepare for their naming ceremony, they work with Grandma High Elk to create quilts they will use to present to Lakota community members.  In great detail, she tells the young girls that yellow is used in quilts to represent the East: "The East represents birth and children who are just beginning to learn to live in the circle" of life. Red is the color for the South because "this direction stands for midday, noontime, and for adults who are in the prime of their life in the circle."  The North is symbolized with the white color, not only because of the winter season, but also to symbolize the "hardships that endured" during the winter months.  Finally, black is the color of the west; "Autumn is its season" and it is the "time when the leaves on the trees and other plants die and when people die of old age."  These detailed descriptions help students make connections with the four seasons of the year and the various stages of life all humans go through. 

Although this story does provide very accurate and thoroughly described cultural markers, the storyline is weak.  It seems the characters are not well-developed because Sneve has spent much time focusing on describing Lakota traditions to young readers.  Although this is an admirable goal, many of the characters lack depth and development which may not help students identify with the story's main characters.  Also, it seems that Sneve rushed through her story to fit it into the twelve chapters that symbolize the Lakota moons.  Readers may be surprised to learn that within the last three chapters of the story, young Lana is stricken with cancer and receives treatment for it, but loses her battle at the end.  I believe that if Sneve had spend more time developing the emotions and thoughts of these young Lakota members, the story would have an even stronger impact on readers.

REVIEWS AND AWARDS:

BOOKLIST: "The interweaving of traditional culture is sometimes heavy-handed ("We, the Lakota, believe"), but the mix of Great Plains history with the contemporary scene (including occasional e-mails) rings true... Lori's lively personal narrative will draw readers as she copes with anger, guilt, sorrow, and, finally, the loss of her sister, even as she realizes that, in the Lakota way, the girls will always be connected."

CHILDREN'S LITERATURE: "Sneve, author of two previous books about the Lakota for young readers, weaves Lakota lore into a completely contemporary coming-of-age story. Though there are a few places where the character development seems a little weak, the language remains vivid and poetic. By the end of the story we have learned a great about Lakota culture and have come to like Lori and her extended family a great deal."

FOREWORD REVIEWS: " Sneve has created a story that is both a tribute to her heritage and a poignant chronicle of the end of adolescent innocence."

CONNECTIONS

Have students read books that specialize in the Lakota Indians to learn about culture and traditions:

Goble, Paul.  BEYOND THE RIDGE.  ISBN 0689717318

Goble, Paul.  LOVE FLUTE.  ISBN 0689816839

Big Crow, Moses Nelson.  HOKSILA AND THE RED BUFFALO.  ISBN  0689432801

Reed, Melissa Ann.  RAVEN BRINGS TO THE PEOPLE ANOTHER GIFT.  ISBN 0689819994

(These titles and more can be found at http://www.lakotabooks.com/children_books.html)

A Boy Called Slow by Joseph Bruchac

 

BIBLIOGRAPHY

Bruchac, Joseph.  1994. A BOY CALLED SLOW: THE TRUE STORY OF SITTING BULL. Ill. by Rocco Baviera.  New York:  Philomel Books.  ISBN 0399226923

PLOT SUMMARY

The Lakota Sioux band often gave their children names based on the way they acted.  A child born to the great warrior known as Returns Again to Strike the Enemy is given the name "Slow" because of his deliberate and precise movements; it often took him longer to complete tasks than the other children.  Wanting a stronger name, and to make his father proud, Slow becomes skilled in riding and hunting.  Slow finally proves his strength and bravery when he is the first to attack the enemy Crow tribe as it approaches Slow's homeland.  After the tribe's victory, Slow's bravery is recognized by tribal elders and he is given the new, powerful name "Sitting Bull."

CRITICAL ANALYSIS

Joseph Bruchac  introduces young readers to "one of the greatest of all the Lakota warriors," Sitting Bull in the story A BOY CALLED SLOW, which celebrates the Hunkpapa band of the Lakota Sioux.  As readers turn the pages of this true story, the text reveals the link to the Lakota Sioux language when Bruchac uses several words and phrases throughout the story.  To help young readers distinguish what the words and phrases mean, Bruchac has the characters provide a brief translation in English.  For example, young readers learn that "tiyospaye" means tribal extended family, "wasicun"  stands for the white man, and  "Nihwa hwo?" means "Are you sleepy?"  These easy to understand descriptions allow readers to easily make the connection between the English and Sioux language used.

Other cultural markers used in Bruchac's story can be found in the names of the characters.  Slow's father is respected as the a great Sioux warrior, and has been given the name Returns Again to Strike the Enemy because of his fearlessness in combat against the Crow, the Sioux's enemy tribe.  Slow's uncle is given the name Four Horns, and he tells his young nephew how horses were brought to their tribe.   Bruchac also brings authenticity to Sitting Bull's story though the passage of time.  Whereas nowadays time is referred to in years, the Lakota Sioux mark time through the passage of winters.  As the story unfolds, Slow reaches his "seventh winter," Bruchac refers to events "two winters ago," and when Slow has seen "fourteen winters," he is ready to enter into battle alongside his father.   This reference to winter allows young readers to see how the change of seasons, specifically winter, was critical to the Lakota Sioux's livelihood.

The significance and reverence given to animals by the Lakota Sioux tribe is presented throughout the story.  Slow's uncle Four Horns tells how Wakan-Tanka, the Creator, brought the horse, known as Shoong-Ton'kah (The Spirit Dog) to the tribe to help "pull our travois and hunt buffalo" and are "as faithful as our dogs but able to pull our loads and carry us as quick as the whirlwind into the hunt."  Reverence to animals is also described as young readers learn of the Lakota Sioux's spirituality with nature: "Slow knew that many of his Lakota people could speak with the birds and animals, and hear their speech as clearly as human words; and the animals understood them, as well."  This is further emphasized in poignant scene in the story in which Slow's father speaks to a buffalo bull: "Returns again listens carefully as the buffalo spoke, for the words it spoke were names... They were powerful names."  Young readers later find out that this important event will provide Slow with the name "Sitting Bull" after he proves his bravery and strength to his tribe.  

Adding to the text's authenticity are Rocco Baviera's bold, dark acrylic oil painted illustrations.  Dark shades of black, purple, and navy blue are used to create mystical, outdoor night scenes in which the Lakota Sioux Indians speak with the birds and animals, tell great tales of the Spirit Dog's arrival, and speak with the great buffalo.  Baviera's adds splashes of burnt orange and neutral brown colors to bring the elements of Earth and nature into the story.  As young readers turn the pages, they see Slow's face illuminated by the flames of a small campfire, and the moon's light reflected in the Lakota Sioux warriors' headdresses adorned with white feathers.  These scenes help capture the spiritual significance of young Slow's journey into manhood.  Baviera does not add distinct facial features to any of the human or animal characters throughout the story, which allows young readers to imagine the scene in their own minds.  It isn't until the final page of book that the audience finally sees a clear image of Sitting Bull, "one of the greatest of all the Lakota warriors."

REVIEWS AND AWARDS:

PUBLISHER'S WEEKLY: "Bruchac's meaty yet cohesive narrative is richly complemented by Baviera's large, atmospheric paintings. Employing a somber palette marked by radiant bursts, the first-time children's illustrator evokes the solemnity and awe of ripening adulthood. Satisfying for its attention to historical and multicultural issues; stirring in its consummate storytelling."

SCHOOL LIBRARY JOURNAL: "The illustrations, oils that are rich and somber, convey details of traditional Lakota life, from the warm, close interiors of the family home to a pre-dawn assembly of warriors about to raid their Crow neighbors. The text creates an equally subtle portrayal of Plains Indian life."

BOOKLIST: "In brilliant counterpoint to the story's emotional timelessness is Baviera's vision of the Lakotas as spiritually and culturally distant from us. His dark acrylics punctuated by the unexpected pastels of diminished sunlight--purple snow, turquoise smoke, orange skies--is at once mythic and melancholy in its portrayal of a vanished culture."

CONNECTIONS

Have students read more about Sitting Bull and the Lakota Sioux tribe.

Trumbauer, Lisa.  SITTING BULL. ISBN 0736823719

Collier, James Lincoln.  THE SITTING BULL YOU NEVER KNEW.  ISBN 9780516243443

Shaughnessy, Diane.  SITTING BULL: COURAGEOUS SIOUX CHIEF.  ISBN 9780823951093