Wicked Girls: A Novel of the Salem Witch Trials

Bibliographic Data: 

Hemphill, Stephanie. 2010. Wicked Girls: A Novel of the Salem Witch Trials. New York: Blazer + Bray Publishing.

ISBN 9780061853289

Plot Summary:

Through this novel told exclusively in verse, the reader is introduced to a vindictive group of young girls. The novel is set in Salem during the infamous Salem witch trials and gives a fictitious account of the trials through the eyes of the girls who accused more than 220 people of witchcraft. Three main girls’ dialogue is explored throughout including Mercy Lewis, a servant, Margaret Walcott, a middle class citizen, and Ann Putman, Jr., a 12 year old who comes from one the most prestigious families in Salem. We see the act of accusing escalate through their individual perspectives and see a few possible indications of why the girls accused who they did whether it was solely for attention, revenge, or jealousy.

Critical Analysis:

Wicked Girls follows an organized format beginning with an introduction of each girl involved in the trials, and follows a back and forth of dialogue between the main three throughout the novel. Free verse is utilized and lines are rythmic and flowing to effectively tell the story quickly and smoothly. There are sections that indicate date and give a brief interlude of seasonal changes or major events taking place. Overall, the story line is easy to follow and gives the reader an early indication of the main character’s personalities and emotions. We see the hierarchy of class and how this may have had something to do with the tragic events that took place in Salem.

Hemphill does a fantastic job analyzing the mental state of the girls. By allowing the reader to see the happenings through the minds of the girls involved, the reader is given a clear image of who the girls are and their reasoning behind the accusations. We see the wanting to belong by each girl whether it is Mercy’s longing to be more than a servant, Margaret’s lust for a boy in the village, or Ann’s desperate attempt for attention from her family.  The struggle for power is evident from each girl and the evil that surrounds the baseless accusations is apparent. There is a definite parallel with the events of the time and the mean girls of today. Many young girls can relate, being given such vivid depictions of the deep thoughts and torment that the characters in the story experience. The verse format is simple to follow once one gets accustomed to reading it. The novel is expertly written and takes the reader through an emotional tale of tragedy, fear, and the need for acceptance.

*Side Note: At the end of the novel there are several sections with historical notes relating to the actual accusers, those they accused and an author’s note explaining how she came to write the book. These should not be missed and serve as a great accompaniment to the novel.

Review Excerpt(s):

Booklist, Starred Review, June 2010:
“An excellent supplementary choice for curricular studies of Arthur Miller’s The Crucible, this will also find readers outside the classroom, who will savor the accessible, unsettling, piercing lines that connect past and present with timeless conflicts and truths.”
 

Kirkus, Starred Review, June 2010:

“In this superbly wrought fictionalized account of the Salem Witch Trials, Printz Honor winner Hemphill offers a fresh perspective on an oft-told tale by providing lesser-known Salem accusers with a variety of compelling motivations that will resonate deeply with contemporary teens.”
 

School Library Journal, 2010

“The verse format is fresh and engaging, distilling the actions of the seven accusing girls into riveting narrative.”

 

Connections:

* Create a list of parallels between today’s society and those in Salem. Ask students what “mean girls” today do that are similar to the Wicked Girls of Salem.

* Have students create their own poems that reflect their thoughts on the book.

*Some websites to explore concerning the Salem witch trials:

http://salemwitchmuseum.com/education/faq.php

http://www.nationalgeographic.com/features/97/salem/

http://school.discoveryeducation.com/schooladventures/salemwitchtrials/

*Further reading on the Salem witch trials:

Aranson, Marc ; Ill. Anderson, Stephanie. Witch Hunt: Mysteries of the Salem Witch Trials ISBN 9781416903154

Speare, George Elizabeth. The Witch of Blackbird Pond. ISBN 9780395071144  

Rinaldi, Ann. A Break with Charity: A Story about the Salem Witch Trials. ISBN 9780152046828

 

 

Please Bury Me in the Library

  

Bibliographic Data: 
 

Lewis, Patrick J. 2005. Please Bury Me in the Library. Ill. Stone, Kyle M. New York: Gulliver Books/Harcourt, Inc.

ISBN 9780152163877

Plot Summary:

This book of poems is a tribute to books and the joys of reading. Each poem represents a different aspect of literature ranging in topics such as optional books names, picture books, summer reading, and even the pleasure of finding letters in a bowl of alphabet soup. Various forms of poetry are explored including Haiku, rhyme, and acrostic. Poems vary in design and layout while conveying a love of books and literature through wit and humor.

Critical Analysis:

Please Bury Me in the Library offers the reader fun, witty poetry that observes the magical world of literature and books. The overall format of the book is kid-friendly and includes bold headings, a contents page and an illustration to accompany each poem. Lewis uses various forms of poetry within this collection of sixteen poems. Sixteen poems if you include his clever “acknowledgments” which pays homage to his influences “Shel and Jack, and Myra Cohn”.  The first fifteen poems are rhythmic collaborations that invite the reader to explore topics such as optional book titles like “Furious George/Goodnight Noon/Babar the Beaver” in the poem What if Books Had Different Names? The poem that gives the book its title, Please Bury Me in the Library, describes a desire to stay “Where the Kids’ Books dance/With true romance”.

Stone’s illustrations capture the quirkiness of the poetry by contributing odd depictions of animals and characters using acrylics and mixed media. For example, the illustration that accompanies the poem “A Classic” includes a strange, blue furry figure with a top hat. Inside the hat sits a funny, little rabbit reading a book. Most of human depictions are exaggerated figures, as well with odd shapes and peculiar facial expressions. The colors are vibrant. Children will definitely be drawn to each poem due to the fantastic combination of Stone’s eccentric images and Lewis’ rhythmic humor and figurative language throughout.

Review Excerpt(s):

Booklist, February 2005:
“Lewis' poetry is continually clever, whether pithily summing up children's classics (a book that is excitedly read by a kid of 6 to another kid of 63) or capturing the thrill of reading in the dark.”

 

Kirkus, Starred Review, April, 2005:

“Stone debuts with broadly brushed, page-filling acrylics to match: Children in pj's rest beneath or teeter atop piles of books; mice and owls peruse large volumes by moon- and candle-light; an elderly, rather Seussian creature listens contentedly to a young reader."
 

Children’s Literature, 2005 

“What a joy to find, in our technological instant communication age, a book about books and words and pleasure! From the deliciously polite title through the ab-so-lu-tas-ti-cal final acknowledgement the author tickles the funny bone as he plays with words and ideas designed to delight and intrigue the discerning reader.”

Connections:

* Have students write an acrostic poem like the one Necessary Gardens using their favorite book title.

* Students can create their own silly book titles to correspond with the poem What if Books had Different Names?

*A great site with activities for individual poems. TEKS connections are included: http://www.roundrockisd.org/docs/please_bury_me.pdf

*Another poetry book about books and literature:
Purdie Salas, Laura; Ill. Bisaillon, Josee. BookSpeak: Poems about Books ISBN 9780547223001

 

 

Red Sings from Treetops: A Year in Colors

 

Bibliographic Data: 

 

Sidman, Joyce. 2009. Red Sings from Treetops: A Year in Colors. Ill. Zagarenski, Pamela. New York: Houghton Mifflin Harcourt Publishing.

ISBN 9780547014944

Plot Summary:

Sidman explores each season by assigning appropriate colors to each, beginning with the spring season which is represented by red, green and yellow to describe the bright, newness the season offers. The colors that surround summer include green for the leaves on trees, blues to represent cool ocean waters, and purple to represent the summer sunsets. Next, fall is explored using brown, yellow and orange just to name a few. Winter begins with pink, blue and white as other vibrant colors like orange and yellow fade from sight leaving gray and brown behind. Red rounds out this collection of verse and is mentioned once again as it was in the beginning by accenting the seasonal landscape.

Critical Analysis:

The colors not only show through Zagarenski’s vibrant illustrations, but also are evident in Sidman’s vivid, descriptive language. As the reader goes over each verse, they are given fantastic descriptions of objects and landscapes associated with the four seasons. In most instances the objects and seasonal attributes are not even mentioned. For example, in the fall, red is said to “splash” over everything from the trees to the leaves. Red is described as “crisp” and “juicy”, naturally allowing the reader to imagine a bright, red apple. The word ‘apple’ is not written; rather it is meant to be distinguished through descriptive wording. While the bright, animated illustrations allow the reader to visually interpret each season, each section of the poem is able to describe season characteristics verbally by evoking feelings and images associated with color.   

The book has a cyclical design. The reader is taken through a series of seasonal characteristics that begin with the color red and end with red, only in a different season. The poem begins with the color red highlighting various points of spring as it “sings from the treetops” and “squirms on the road after rain”.  The poem closes with red highlighting winter as it “glows in the strengthening sun” and “hops to tree tops/ fluffs its feathers”. Many colors are mentioned in more than one season and tend to conjure somewhat different emotions and images. The illustrations enhance the reading and include a combination of illustration media including paint, as well as collage.

Awards:

Randolph Caldecott Medal, 2010

Cybil Award, 2009

Claudia Lewis Award, 2010

 

Review Excerpt(s):

Booklist starred review, 2009:
“The changing seasons have been the subject of many a picture book, but this one has a particularly unique take on the topic. Each season is explored in terms of how it encompasses colors.”

 

Kirkus starred review, 2009: 

“Fresh descriptions and inventive artistry are a charming inspiration to notice colors and correlate emotions. Details in the artwork will invite repeated readings and challenge kids to muse about other color icons.”

 

Connections:

* Children will list (individually or in groups) colors they associate with each season before the class reading. After, they will compare which colors from their list were in the book and why they originally chose those colors. Were they the same as those described in the book?

*A great site full of book activities: http://www.juniorlibraryguild.com/images/9780982296493/StudyguideStudent/Red%20Sings%20Treetops_JLGGuide.pdf

*Joyce Sidman’s website with activities and reading guides: http://www.joycesidman.com/

*Other poetry books by Joyce Sidman:

Sidman, Joyce; Ill. Krommes, Beth. Butterfly Eyes and Other Secrets of the Meadow ISBN 9780618563135

Sidman, Joyce; Ill. Zagarenski, Pamela. This is Just to Say: Poems of Apology and Forgiveness ISBN 9780618616800

 

 

Rumpelstiltskin

 

Bibliographic Data: 

 Zelinsky, Paul O. 1986. Rumpelstiltskin. New York: E.P. Dutton.

ISBN 9780140558647

Plot Summary:

Rumpelstiltskin is a retelling of the Brothers Grimm tale. A miller, in an attempt to impress the king, claims his daughter can spin straw into gold, though she cannot. The king orders that the girl come to the castle where she is placed in a room full of straw and expected to spin all the straw into gold by morning. Distraught, the miller’s daughter begins to cry until a strange little man appears in the doorway. He says he will spin all of the straw into gold in return for the young girl’s necklace that first night. She is expected to do the same the second night and the little man take the girl's ring.The king presents the girl with even more straw the following night and says that she will become queen if the straw is spun into gold by morning. This time the girl has nothing to bargain, but the little man says he will spin the gold if the girl promises that when she is queen, her first born will belong to him. She agrees and becomes queen. A year later, the queen has a baby boy and the little man returns. The queen begs the little man not to take the child and the man agrees that if she can recite his name within three days, he will not take the child. The next day the queen guesses all the names she can think of, but the little man only responds with “that is not my name.” The second day she poses strange and unusual names, but still does not guess correctly. The queen sends her servant to find the little man and the servant is able to hear his name. When the little man confronts the queen on the final day, the queen reveals his name to be Rumpelstiltskin and the little man flew away and was never heard from again.

Critical Analysis:

This retelling of Rumpelstiltskin is one that is simplistic with storytelling and meticulous and detailed with illustrations. The story follows a basic, cumulative pattern where the miller’s daughter is consistently confronted by Rumpelstiltskin. The illustrations are impressive oil paintings full of vibrant colors and exquisite detail. The dress and setting are authentic to the time period. The character’s themselves, particularly Rumpelstiltskin, are portrayed imaginatively accurate to the classic tale.

Awards:

Randolph Caldecott Medal, 1987

Parent’s Choice Award, 1986
 

Review Excerpt(s):

Children’s Literature review, 1986:
“Based on the Grimm brothers' earliest version, Zelinsky's beautifully detailed oil paintings depict the medieval time period wonderfully and add a creative element to this well-known tale.”

 

Publisher’s Weekly review, 1986:

“Rumpelstiltskin is a tour de force by an immensely talented artist. Zelinsky is that rare practitioner who can create sophisticated work that adults will marvel at, and that children will joyfully embrace.”

 

Connections:

* Some great lesson plan ideas via Paul O. Zelinsky’s website: http://www.paulozelinsky.com/rumpelstiltskin_lessons.html

* Ask students to create their own illustrated versions of Rumpelstiltskin.

*Other versions of Rumpelstiltskin:

Grimm, Jacob; Grimm, Wilhelm. Rumpelstiltskin ISBN 9780893751180
Green, Robyn; Bronwen, Scarffe; Ill. Roy, Helen. Rumpelstiltskin. ISBN  9781572550001
Powell, Martin. Rumpelstiltskin: the graphic novel. ISBN 9781434207685

The Three Little Pigs

 

Bibliographic Data: 
 

Marshall, James. 1989. The Three Little Pigs. New York: Grosset and Dunlap.
ISBN 9780803705944

Plot Summary:

This version of The Three Little Pigs begins with three pig brothers leaving home in order to seek their fortunes. The first little pig comes across a man carrying a load of straw and decides to buy the straw to build a house. Once the first little pig builds his home, a hungry wolf comes by asking to be let in. When the pig refuses, the wolf blows his straw house down and gobbles him up. The second little pig has a similar experience only he chooses to build his house out of sticks. The wolf easily blows his house down as well and gobbles him up. The third (and apparently wiser) little pig decides to purchase bricks and builds a much sturdier house. The wolf cannot blow this house down, so he decides to outwit the little pig by coaxing him out of the house. He sets a time for the two to pick turnips, but the little pig leaves Farmer Jones’s turnip field before the wolf has a chance to meet him and gobble him up. He tries this method twice more by setting a meeting time to pick apples and planning a time to meet at the fair. The little pig is able to avoid the wolf each time and return home before the wolf can eat him. The wolf becoming very impatient decides to come down the little pig’s chimney and ends up falling into a big iron pot the pig placed at the bottom. The pig ends up cooking and gobbling the wolf up for dinner.

Critical Analysis:

James Marshall’s retelling of the classic folktale follows a similar plot line that many previous versions have adhered to. This version adds additional conversation while still being true to the traditional dialogue including the wolf’s plea of “little pig, little pig, let me come in” and each little pigs’ response “not by the hair of my chinny chin chin”. Marshall also illustrates the tale and introduces stout, colorful caricatures of the little pigs and their antagonist. The vibrant watercolor illustrations enhance this traditional tale following the cumulative story line.

Review Excerpt(s):

Publisher’s Weekly review, 1989:
“There are fairy tales, and there are Marshall's tales. Readers can also be forgiven for preferring his over all the rest.”

School Library Journal review, 1989:

“The wolf, with his slouching posture and shifty, yellow eyes, looks just the sort of character who would lose his temper and jump down the chimney when force and tricks fail to capture the third little pig. Good stories can be retold endlessly, and Marshall's inventive version of The Three Little Pigs is an excellent addition for all library picture-book collections.”

Connections:

*Ask students what they already know about the story. Have they heard it before? What are some things they remember from the story?

*Compare and contrast another variant of The Three Little Pigs. After reading Marshall’s version and another, create a chart listing the differences and similarities.

*Other versions and variants of The Three Little Pigs:

Watts, Bernadette. The Three Little Pigs ISBN 9780735840584  
Scieszka, Jon. The True Story of the Three Little Pigs ISBN 9780670827596
Weisner, David. The Three Pigs ISBN 9780618007011
Kimmel, Eric. The Three Little Tamales ISBN 9780761455196

 

 

Medio Pollito

Bibliographic Data: 

 

Kimmel, Eric A. 2010. Medio Pollito: a Spanish tale. Ill.by Docampo, Valeria. Tarrytown, New York: Marshall Cavendish.
ISBN 9780761457053

Plot Summary:

Medio Pollito: a Spanish tale is an adaption of a Hispanic folktale. The adaption begins with a strange shaped egg. After the egg hatches an odd looking chick is revealed; a half-chick with only one wing, one leg, one eye, and half a beak and comb. He is appropriately named Medio Pollito, which means half-chick. Medio Pollito, having an adventurous spirit, decides to set out on a journey and visit the king in Madrid, despite the disparaging remarks made by the other barnyard animals. Along the way, Medio Pollito encounters water in a stream that needs weeds cleared in order to flow, a fire that needs rekindling, and wind caught in the trees. Reluctantly, he helps each and is promised future help should he need them. Once he arrives in Madrid, a cook promising to take Medio Pollito to the king ends up trying to make him for dinner and places him in a pot to simmer. Fortunately, the favors Medio Pollito did earlier pay off because he is not boiled by the water in the pot and the fire refuses to burn under the pot. The cook angrily throws Medio Pollito out. Now discouraged and alone, Medio Pollito meets the wind once again who takes Medio Pollito to the top of the tallest cathedral in Madrid. Medio Pollito enjoys the view and decides he will stay at the top forever. The people of Madrid can now use Medio Pollito as a weather vane seeing which way the wind is blowing because he will be turned to the wind to discuss any news from home.

Critical Analysis:

Eric Kimmel’s adaptation of the pour quoi tale concerning an explanation for the weather vane is an interesting retelling that reveals positive themes including persistence, friendship, and gratitude. While Kimmel admits in his end note of the book that previous versions portray Medio Pollito to be “rude” and “selfish”, the “half-chick’s spirit of adventure” is what he chose to celebrate in his retelling. There is definitely a much more positive representation in Kimmel’s version. Valeria Docampo’s illustrations of the little half-chick are rich in detail and color using acrylic paints. Each illustration follows the story effectively and enhances the overall experience of Kimmel’s storytelling.

Review Excerpt(s):

Children’s Literature review, 2010:
“Both the density of the text and the complexity of the tale make this a welcome addition to collections of folktales for late primary and middle school rather than preschool classrooms.”
 

Kirkus review, September 2010:

“The lush acrylics complement the veteran re teller's engaging, straightforward unfurling of the tale. Definitely make room for this wholehearted book on the shelf.”

 

Booklist, September 2010;

“The question ultimately answered here—how did weather vanes come to be?—may not be one that naturally occurs to many kids, but it serves as a happy ending for Medio Pollito.”
 

Connections:

*Before reading the story aloud, bring in a weather vane to display. Ask students what it is and if they have seen one before. This will serve as a good introduction to the folktale and a nice “prop” to refer to after the story.

*Make some decorative weather vanes. Here is a website with instruction and an example: http://www.thebestkidsbooksite.com/craftdetails3.cfm?CraftID=228

*Refer to the Vimeo reading of Medio Pollito; a Spanish Tale told by the author: http://vimeo.com/15007234

Another version of the Medio Pollito folktale:

Ada, Alma Flor. Medio Pollito/Half-Chick ISBN 9780440413608