And The Green Grass Grew All Around: Folk Poetry From Everyone

Schwartz, Alvin.  1992.  And the Green Grass Grew All Around: Folk Poetry from Everyone.  Ill. Sue Truesdell.  New York: Harper Collins.  ISBN 0060227575

From near and far, from city and glen, from times forgot those not, And the Green Grew All Around reminds us all of our childhood taunts and chants, while helping us understand and explore the reasons folk poetry continues to manifest itself throughout the ages. 

Schwartz has collected an impressive variety folk poetry, and presents them in succession according to their theme.  Each chapter offers a new theme in an attempt to create order out of what often seems like silliness.  Folk poems about people, teases and taunts, work, and nonsense are just a few of the chapter headings. 

Where appropriate, bars of music are included to give the musically literate reader an idea of the tune to be used.  "Do You Ears Hang Low", for instance, is paired with the musical notes for Turkey in the Straw. 

The illustrations are scattered on each page to complement one or more of the highlighted poems.  The drawings are done in shades of gray with no other color, though, none is needed.  Sue Truesdell captures the simplicity of the folk poetry's roots while highlighting the complex subject matter with her humorous artwork. 

This book is structured in a way that the reader is led from one poem to another with little separation.  The drawings are often used to separate one poem from the next, and while it is fairly simple to tell by the structure of each piece which goes with which, the unobservant reader might follow the words directly into a new poem rather than a new stanza where only space separates.


In addition to the poems themselves, Schwartz offers detailed notes and source information, so the reader may more fully understand the place these folk poems hold in our society and hearts. 

"Read this outrageous volume before it is shelved; once the kids discover it, it will always be checked out." (School Library Journal/June 1992)

"A wonderful collection for reading, singing, and laughing out loud." (The Horn Book Review/July/August 1992)

Cinder-Elly

Minters, Frances.  1994.  Cinder-Elly.  Ill. G. Brian Karas.  New York: Penguin Books.  ISBN 0670844179

In this rap-style version of Cinderella, Elly’s mother is largely omitted from the story, and the sisters reflect an interracial, modern family. This variation includes all of the elements of the classic English form and may be used to help inner-city children relate to this classic tale, which often takes place in the country long ago using archaic language.

The text corresponds well with this modern setting, but the rhythm of the text is interrupted by forced rhymes in several places. Even so, this book will easily win over fans of the classic tale.

The artwork is also distracting at times, but it remains reflective of the busy atmosphere that is New York City. While the artwork is eye-catching and well-suited, the colored pages blend together and ultimately detract from its effectiveness. Throughout the book, supporting characters are inserted around the text and pictures to interrupt the rhythm of the rap to comment on the story line. While this may not appeal to adults’ tastes, this may help children develop reading comprehension skills by demanding attention be paid to understand the remarks.

This book could be used to encourage children to create their own, updated retellings of stories they are familiar with. It could be a great way to get children thinking about how stories that may seem old can relate to their modern world.

"The story's told in fast-paced rhyme, fun for reading aloud, and the bright illustrations are like street murals, bold and rhythmic." (Booklist/January 1994)

"What the verses lack in ingenuity, the pictures and format make up for with inventive flair." (Bulletin of the Center for Children's Books/April 1994)

The Three Little Tamales

Kimmel, Eric.  2009.  The Three Little Tamales.  Ill. by Valeria Docampo.  Tarrytown: Marshall Cavendish Children.  ISBN 0761455196.

From a taqueria in Texas, three little tamales make their escape. The first builds her home in the prairie out of sagebrush. The second builds with cornstalks in a cornfield, and the third builds her home in the desert out of thorny cactus. Señor Lobo then comes along to huff and puff “like a Texas tornado” at each of the homes in an attempt to eat the tamales. In the end, it is not bricks, but thorny cactus that thwarts his attempts, and Señor Lobo comes in through the chimney to be trapped in a pot and threatened with becoming a wolf-tamale! He runs away, and all is well for the three little tamales who throw a fiesta with their tortilla friends.

The Three Little Tamales by Eric A. Kimmel and illustrated by Valeria Docampo is a version of The Three Little Pigs in which three tamales are personified. Based in Texas and including many strong Hispanic cultural references, this story is retold in a way that will delight those familiar and unfamiliar with this story. The text flows easily and is enticing with its cadence and directness.

Throughout, Kimmel uses Spanish vocabulary intermixed with the English text; in the beginning of the book, there is a glossary of Spanish terms provided for readers’ use. For reading aloud by a novice of the Spanish language, this glossary is particularly useful because of its phonetic spelling of the unfamiliar words.

Being a storyteller himself, Kimmel’s use of rhyme enhances the experience of The Three Little Pigs for generations of Hispanic-American children who may not relate to the traditional tale. Particularly in Texas, children hearing this story in addition to or apart from the conventional tale will not be at a disadvantage.

The themes in the book remain the same as in the traditional telling: good vs. evil, and good wins with the help of a well-lain plan. The tamales are simply a part of both Texas and Hispanic heritage, and the re-telling does not include stereotypical characters to which any could take offense. The incorporation of Spanish words in the English book is a sign of the shift in Texas demographics, and in no way should be interpreted as a belittlement of Hispanic cultures.

The pictures are colorful, fun and cartoonish in nature; Docampo expresses the wide-open spaces that can be found in Texas effectively and without leaving the formatting too loose.  This book would be well-suited to coincide with a celebration of Hispanic-American culture, Texas-themed curricula or a study of variations of traditional literature.

“An excellent addition to collections of fairy-tale retellings…” (Booklist/March 2009)

“The colorful artwork combines with a text brimming with humor and sound effects ("Ay! Ay! Ay!") for a delightful parody sure to satisfy readers' appetite for fun.” (Scool Library Journal/June 2009)

The Hello, Goodbye Window

Juster, Norton.  2005.  The Hello, Goodbye Window.  Ill. by Chris Raschka.  Hyperion: Michael Di Capua  Books.  ISBN 0786809140

The Hello, Goodbye Window explores the world of a granddaughter visiting her grandparents for an overnight stay.  The story takes place entirely within the boundaries of the grandparents’ home, usually the kitchen, where the hello, goodbye window is located; however, there are excursions into the yard and garden.  The story takes the reader through the house and the course of the stay by describing those things that are special between grandparents and granddaughter.  

The story follows her intermittently throughout her visit depicting the wonder of daily life through the eyes of a child:  from the way families greet one another to working in a garden with Nanny and listening to Poppy play his harmonica.  The placement of the window in the book assists the tracking of time through the story.  After being led through the activities of the family, our protagonist expresses feelings both happy and sad when it’s time to go home. 

The window represents the imaginative spirit of our young protagonist; through this window alone she can imagine any visitor, but not through any other window.  The imaginative and explorative spirit is what reigns in this book.  The illustrations by Chris Raschka help drive the emotion of the story. 

Though they are cartoonish, there is no room for doubt when a character is happy, sad or worried.  The bright colors emphasize the freshness of the world and the energized outlook of the characters.  The story also touches upon the conflicting emotions children often have when parting from someone they love with someone else they love. 

The story is told entirely through the eyes of the child.  From the text to the pictures, the reader only receives what the child interprets.  Raschka’s illustrations complement the story well by matching the child-like drawings to the child-like voice.  Additionally, the illustrations offer an approachability based on cultural markers. 

The family depicted is a modern, interracial family, and will add to the book’s desirability for this underrepresented population; however, because this aspect is not intrusive or meant to spark a conversation, the story remains simple and innocent throughout the book. 

The Hello, Goodbye Window was honored with a Caldecott Medal in 2005. 

“Say hello to Raschka at the top of his form.” (The Horn Book, July/August 2005)

“…an exciting and fanciful world…”  (Bulletin of the Center for Children's Books, July/August 2005)

“…grandparents especially will be charmed by this relaxed account of how a child's visit occasions every day magic.”  (Publishers Weekly, February 2005)

Henry's Freedom Box

Levine, Ellen.  2007.  Henry’s Freedom Box: A True Story From the Underground Railroad.  Ill. by Kadir Nelson.  New York: Scholastic Press.  ISBN 043977733X

Henry’s Freedom Box is set in the south during the mid-1800s prior to the Civil War.  The story follows the life of Henry “Box” Brown from his enslaved childhood to his freedom as an adult.  The story asks the reader to think about the families who were torn apart by slavery as Henry tries to first overcome the loss of his parents and his home and then as he is stripped of his own wife and children.  

The story makes no pardons for this country’s past by numbing the grief felt by our protagonist, but it also does not accuse or lecture the reader for what came before.  Kadir Nelson’s portrait-like art beautifully exposes each character’s emotion with its intricate details and use of shadowing. Levine gently exposes one of the most torrential periods in the United States’ history by unashamedly and non-accusingly discussing slavery and its effect on the human spirit.  

Because this book deals with slavery in America, a delicate issue in any medium, adult audiences may not be comfortable with the content; however, this story is presented as such an honest account of what went on, that no reader should be offended or embarrassed by the depictions of this true and bittersweet story.

Henry’s Freedom Box was awarded a Caldecott Honor in 2008.

“illustrations by Kadir Nelson that resonate with beauty and sorrow.” (The Horn Book, March/April 2007)

“…beautifully crafted picture book….”  School Library Journal, March 2007)

Side by Side: Five Favorite Picture-Book Teams Go To Work

Marcus, Lenoard S.  2001.  Side by Side: Five Favorite Picture-Book Teams Go to Work.  New York: Walker & Company.  ISBN 0802787789

This book provides the reader with insight to the imaginative and collaborative world of five picture-book teams.  Each team is highlighted in a separate chapter allowing for specific anecdotes to demonstrate how each team works best as a team.  The five teams include: Arthur Yorkinks and Richard Egielski; Alice and Martin Provensen; Jon Sciezka, Lane Smith and Molly Leach;  Julius Lester and Jerry Pinkney; Joanna Cole and Bruce Degen.

Each of these teams is unique in the way they approach their crafts.  Some are in constant and personal contact, others meet only minimally and speak through their representatives, but no matter how they work, each team has effectively created  picture-books that will remain on library and school shelves for the duration. 

The book has taken direct quotes, samples of works in progress, and images of the completed books to illustrate how the team reaches its finished product.  The images in the book range from photographs of the team members to conceptual sketches to items that inspired one or more team member in their endeavor.  These images complement the text and allow the reader to fully understand what the text had already explained. 

In addition to the chapters, the book also includes a glossary to help younger readers fully grasp the meaning behind some of the publishing jargon that is presented throughout the book.  Without this glossary, more advanced young readers would still find this book approachable, but this addition allows other, less-advanced readers to approach it confidence.

“…well-written and beautifully designed book.” (Booklist, November 2001)

“…may inspire readers to their own creative teamwork.” (Bulletin of the Center for Children's Books, March 2002)

“…fascinating look at the collaborative process involved in creating picture books…” School Library Journal, November 2001)

“…Side by Side is a book that lives up to its subject.” (The Horn Book, January/February 2002)