Book Review: THIS NEXT NEW YEAR

A. BIBLIOGRAPHY
Wong, Janet S. 2000. THIS NEXT NEW YEAR. New York: Frances Foster. ISBN 0374355037.

B. PLOT SUMMARY
The story is about a family celebrating the Lunar New Year and preparing luck ornaments and mascots for having luck and fortune, happiness and health in whole coming year. The protagonist, a Chinese-Korean boy, not only introduces how he and his families celebrate the Chinese New Year, but also identifies the Lunar New Year and depicts the things of other races do as well as their perspectives of the traditional rituals in Chinese New Year.

C. CRITICAL ANALYSIS
Being an insider author, Janet’s story provides great cultural markers that connect to Chinese-Korean culture in the text and illustrations. Although the traditional rituals and customs of Chinese New Year spontaneously involves many cultural markers, such as the dragon dance and tiger dance, red envelopes and lanterns, Janet depicts the deeper meanings of these customs from other racial perspectives. Janet also provides clear and realistic portrayals of food and clothing in this holiday focusing on her original culture which present other cultural markers. It is help readers explore their own formulates of deeper meanings in this holiday.

Even though no Chinese or Korean dialects are used in the text, language is one element to make this book successful. Janet organizes simple sentences with rhymes and rhythm as well as compares these sentences with vivid illustrations on each page to enhance interests for reading and allure readers complete reading at one time. It's a vivid and beautiful, and well-written book which provides information for readers an authentic understanding of the Lunar New Year.

D. REVIEW EXCERPTS
Children's Literature: “Through a young boy's eves we experience the joys and anticipation leading up to the lunar New Year, the Chinese New Year. Lunar New Year is celebrated at a different time each year because it depends on when the new moon occurs. It is a time for hope and a second chance. A time to reach for your dreams. Yangsook Choi brings the celebration vividly to life with her bright, vibrant pictures.”

School Library Journal: “Wong carefully and clearly presents the reasons behind the rituals in a manner understandable to young children. She explains in an appended note about her own confusion as a child about the timing and meaning of the holiday. Choi's vibrant, somewhat primitive paintings realistically capture the details of and preparations for this hopeful time of year. Youngsters will enjoy the bright colors and the sense of motion and activity conveyed as the boy helps his mother clean, flosses his teeth, and cringes from the noise of the firecrackers. A good choice for anyone getting ready to celebrate Chinese New Year.”
Kirkus Reviews: “ Wong's (Night Garden, 1999, etc.) poetic voice creates art from the ordinary. Choi's (Nim and the War Effort, 1996, etc.) lively, two page spreads in bright colors, perfectly complement the energetic text, adding visual reinforcement to the scenes described by the narrator.”

Hom Book: "The concepts of renewal, starting over, and luck, which inform many of the rituals, will resonate with young readers, and the narrator's personal impression of the celebration makes this a refreshing departure from the standard nonfiction holiday-introduction fare."
Comments from the Author: “For me, the Lunar New Year is truly a time of hope. Once I have failed all the crazy new year's resolutions I routinely make on January 1st, here it is—I have a second chance, a fresh start. I hate cleaning house but I love a clean house, and each Lunar New Year's Eve, I madly rush around dusting and mopping and clearing my desk, making room for some good luck to settle. And then, on Lunar New Year's Day, I feel great. I eat well for a few extra weeks. I walk. Why couldn't this happen at any other time of the year? It could—and should! Teachers and librarians might want to read this book at the beginning of the "real" new year for most of us—the beginning of the school year, in September!”

E. CONNECTIONS
Official website for Janet S. Wong
http://www.janetwong.com/index.cfm

Awards and Honors
Oppenheim Toy Portfolio Gold Award
Nick Jr. "Best Holiday Book[s] of 2000"

Other picture books related to Chinese New Year
· My First Chinese New Year by Karen Katz.
· D is for Dragon Dance by Ying Chang.
· The Runway Rice Cake by Ying Chang.
· Chinatown by William Low.
· Bring in the New Year by Grace Lin.
· Long-Long’s New Year: A Story about the Chinese spring Festival by Catherine Gower.
· My Chinatown: One Year in Poems by Kam Mak.
· Chinese New Year by David F. Max.
· Chinese New Year by Judith Jango-Cohen.
· Celebrating Chinese New Year by Diane Hoyt-Goldsmith.
· Chinese New Year: Festival of New Beginnings by Terri Sievert.
· My Chinese New Year by Monica Hughes.
· Chinese New Year by Julie Murray.
· Chinese New Year Crafts by Karen E. Bledsoe.
· Chinese New Year by Dianne M. MacMillan.
· Dragon Parade: A Chinese New Year Story by Steven A. Chin.
· Lion Dancer: Ernie Wan’s Chinese New Year by Kate Waters and Madeline Slovenz-Low.
· The Dragon New Year: A Chinese Legend by David Bouchard.
· Happy New Year!: Kung-his Fa-ts’ai! by Demi.
· Moonbeams, Dumplings & Dragon Boats : A Treasury of Chinese Holiday Tales, Activities
& Recipes by Simonds, Nina.

Book Review: HOW MY PARENTS LEARNED TO EAT.

A. BIBLIOGRAPHY
Say, Allen.1984. HOW MY PARENTS LEARNED TO EAT. New York: Houghton Mifflin Company. ISBN 0395442354.

B. PLOT SUMMARY
The protagonist is a Japanese American girl whose mother is Japanese and father is an American sailor. Her parents meet and fall in love when her father’s ship is stationed in Yokohama. They both enjoy spending time talking and walking on the street, having a wonderful time to get together. However, they both are afraid of making a date to meet and eat because they do not know how to use each other’s eating implement like, forks, knives and chopsticks. In order to make a deep impression to each other and show their love, her mother learns to use forks and knives and her father practices eating noodles with chopsticks. Finally they can have dates and eat together in both eastern and western restaurants. Now it is natural in the protagonist’s family to eat with chopsticks some days and with knives and forks other days.

C. CRITICAL ANALYSIS
Say’s stories present magnificent cultural markers which connect to Japanese culture; therefore, it is easy to find Japanese cultural makers in this book. For example, on the cover, it shows local Japanese food courts decorated with signs in Japanese characters and traditional ornaments, such as red lamplights on streets. Meanwhile, it also show Japanese styled tables and stools in outdoor noodle shops and the ways the customer standing in line to order food to eat with chopsticks in front of the chef presenting people’s ordinary life on the street as cultural markers. Skin tones, facial figures and hair styles in the illustrations present cultural markers. Say also presents traditional and contemporary Japanese lives in the clothing, foods, dishes, and kitchen appliances through his illustrations. For example, the elders and waitresses wear kimonos and slippers with their hair in a bun style. Women in younger generations have straight hair and wear skirts with high heels. Men wear lightly colored shirts and pants. People eat sushi, sukiyaki and soup with chopsticks and they bow to each other, display other cultural marker.

Language plays less important roles to identify cultural markers in this book. In addition, the names of the protagonist’s mother, two food names and few Japanese characters on street signs, it is difficult to find Japanese words and sounds in the text. It is good for reading but less relates to cultural markers. In order to present the protagonist feels free to live in two different cultural life style, Say provides the eastern life style, wear kimono, eat Japanese food with chopstick in the first page, and the western life style in the last page, such as wearing a dress with an eating clothe, eating with a fork and a knife. The author is also very careful to combine the different cultural kitchen utensils in these two pages, such as a rice cooker, a pepper mill, a toaster and, a Japanese tea can and tea pot in the last page to show cultural differences in a very detail.

This book provides realistic portrayals of people’s lives in Yokohama after World War II and how they accommodate with conflicts in cross-culture; however, Say does not explore the cultural values, facts and attitudes in depth; therefore, readers can not formulate informed thought by themselves.

D. REVIEW EXCERPTS
From the Publisher: “An American sailor courts a young Japanese woman and each tries, in secret, to learn the other's way of eating.”
School Library Journal: “The book is wonderfully thought-provoking in its portrayal of the subtle similarities and differences among cultures.”

Reading Rainbow: “An American sailor courts a Japanese girl and each tries, in secret, to learn the other's way of eating. The two discover that when learning to eat using different tableware, manners, and customs, people often encounter problems, as well as triumphs.”

E. CONNECTIONS

Official website for Allen Say
http://www.houghtonmifflinbooks.com/authors/allensay/
Video clip in YouToBe
http://youtube.com/watch?v=gPtSl_kUrPc
Video clip in PBS
http://pbskids.org/readingrainbow/books/hearmore/039c.html
Learn more about Japanese
http://www.amphi.com/~psteffen/fmf/information.htm

Book Review: THE EARTH DRAGON AWAKES

A. BIBLIOGRAPHY
Yep, Laurence. 2006. THE EARTH DRAGON AWAKES. New York: HarperCollins Children’s Books. ISBN 0060275243.

B. PLOT SUMMARY
The main plot of is about two families’ survival in the San Francisco earthquake of 1906; one is an American family and another is a Chinese family. Henry was born into a wealthy family and lived in an upper level community. He is only child in the Travis family; however, his parents are both too busy with their business and social lives to take care of him. Ah Sing is the houseboy of the Travis family and his son, Chin, is the best friend of Henry. Although Chin cannot speak English very well, Ah Sing insists that he lives in Chinatown, and Chin has to go to a Chinese school to maintain his Chinese culture. The earthquake happened during the night while everyone is sleeping. It destroys all the property of Chin’s family. They run away from Chinatown and stay with a fisherman in Oakland to make money for living. The fierce fire comes after the earthquake and forces Henry’s family to give up all their properties and run to safety. Finally, two family members meet after the earthquake nearly three days later and have a short happy reunion in the Bay area. After everything calms down, the Travis family decides to go home San Francisco and rebuild their house. Chin and his father have to stay with the fisherman to earn money. There is one strong belief that both Henry and Chin share; that is someday they will live together.

C. CITICAL ANALYSIS
The dragon is a symbol or cultural marker at the very beginning of every segment of the story. The characters have Chinese names, such as Ah Sing and Ah Quon; Yep does not clearly address cultural markers like facial features, skin tones, hair styles, and clothing and body types in the text. Signs and decorations on the buildings, and the pattern and tempo of people’s lives in Chinatown are other cultural markers that identify Chinese immigrants. Mahjong, a traditional game for leisure time in the Chinese culture, is also mentioned in the text. Like other Chinese immigrants, Ah Sing insists on living in Chinatown and sending Chin to Chinese school to keep his cultural awareness and Chinese identity.

The culture of the people in this story is Chinese and the protagonist is a second generation immigrant in America. Although Ah Shing persists in maintaining his Chinese culture through his son, there are no Chinese characters, verbal sounds or dialects in the text which allow the readers to catch the storyline. The main issue depicts two different cultural families overcoming an unpredictable tragedy involving their cultural values and an attitude. Chin and his father are not reluctant to leave their tenements after the earthquake and stay in an unknown new place. Comparatively, Henry’s families hesitate to leave their houses and insist on going back and rebuilding their home. The fluent writing flow and short versions of each segment in a journal format enhances the way to compare and create a whole picture of what happened during the earthquake from different points of time. Although the story is non-linear without the beginning, culmination or ending, the author consistently describes the story by time lines.

D.REVIEW EXCERPTS
Children's Literature: “I must start by stating that Laurence Yep is one of my favorite authors for children's books and this book has not changed my mind in any way. The characters in this story learn many lessons—how disasters bring out the best and worse in people, how heroes are made from ordinary people, and how people find strength from within that they never knew they had to start over and rebuild their lives. Yep is an excellent writer and writes this story about the different perspectives of two young friends. I highly recommend this book.”

School Library Journal: “Yep's research is exhaustive. He covers all the most significant repercussions of the event, its aftershocks, and days of devastating fires, and peppers the story with interesting true-to-life anecdotes. Its "natural disaster" subject is both timely and topical, and Yep weaves snippets of information on plate tectonics and more very neatly around his prose. A solid supplemental choice.”

Kirkus Reviews: “Simple sentence structure and the use of present tense throughout make this a very accessible introduction. With little character development, the focus is on what rather than the whom. Still, this is solid historical fiction full of details about the times and backed up with an afterword explaining the author's connection and suggesting sources for further reading. It is notable especially for the attention paid to the experience of San Francisco's Chinese immigrants, and a good choice for reluctant readers.”

F.CONNECTIONS
Other literature related to Chinese American
· Ruthanne Lum McCunn. Pie-Biter.
· Allen Say. El Chino.
· Andrea Chang. Goldfish and Chrysanthemums.
· Andrea Cheng. Shanghai Messenger.
· Belle Yang. Hannah Is My Name.
· Bernard Ashley. Cleversticks.
· Carol Stepanchuk. Exploring Chinatown: A Children’s Guide to Chinese Culture.
· Eleanor Coerr. Chang’s Pape r Pony.
· Ellen Levine. I Hate English.
· Gene Luen Yang. American Born Chinese.
· Ginnie Lo. Mahjong All Day Long.
· Grace Lin. Year of the Dog.
· Huy Voun Lee. In the Leaves.
· Kam Mak. My Chinatown: One Year in Poems.
· Karen Chinn. Sam & the Luck Money.
· Katrina Saltonstall Currier. Kai’s Journey to Gold Mountain.
· Laurence Yep. Dream Soul.
· Laurence Yep. The Lost Garden.
· Laurence Yep. Magic Paintbrush.
· Lenore Look. Ruby Lu, Brave and true.
· Lenore Look. Henry’s First Moon Birthday.
· Lenore Look. Uncle Peter’s Amazing Chinese Wedding.
· Lensey Namioka. An Ocean Apart, A World Away.
· Lensey Namioka. Ties That Bind, Ties That Break.
· Mary Anne Fraser. Ten Mile Day.
· Milly Lee. Landed.
· Paul Yee. Dead Man’s Gold and other Stories.
· Paul Yee. A Song for Ba.
· Susan M. Nunes. The Last Dragon.
· Tin. Brothers.
· Valerie Petrillo. A Kid’s Guide to Asian American History.
· Yin and Lee Patricia Gauch. Coolies.

Book Review: A BOY CALLED SLOW

A. BIBLIOGRAPHY
Burchac, Joseph. 1994. A BOY CALLED SLOW. New York: Philomel Books. ISBN 0399226923.

B. PLOT SUMMARY
Slow was born into the Hunkpapa band of the Lakota Sious and his name was given to him because he moves slowly. This type of naming is the custom of the Hunkpapa. Even though females are dominant in this society and parents love girls more than boys, Slow’s parents still feel fortunate to have a son. However, Slow does not like his name and feels unhappy with it. He wishes that he could have a new name like his father’s, Returns Again. His father can communicate with animals and has the four other names given to him by the old bull buffalo. His father is also very brave to help the tribe escape danger at one time. In his tribe, people need to be very brave in doing special deeds to receive a new name. Even though Slow is shorter than other boys at the same age, he grows up to have broad and strong shoulders and kills his first buffalo at the age of ten. One day he leads his people to fight with the Crow and saves their lives as well as he gains many horses and weapons for the war party. His brave and unique deeds win his new name which is the same as his father’s name “Tatan’ka Iyota’ke.”

C. CRITICAL ANALYSIS
This is a unique picture book presenting American Indian cultural markers in both the illustrations and the text. Baviera uses dark colors of brown, purple, black and indigo-blue with gloomy light to present a mysterious Indian culture. It is easy to discover cultural markers in traditional representations. For example, people with copper skin tone live in Tipis. Males with strong muscles and wide shoulders ride on horses on the plain to fight with enemies to protect their families. Females with straight long hair have calm and gentle attitudes to take care of their children. Drawings on Tipis of horses running, buffalos and horses on the plain and eagles hovering in the forest are animals presented in this story. The recurring themes are about a boy building his self-esteem by using his bravery and wisdom to help the tribe survive. Also, the story shows customs of giving a child a name and the social positions of man and women to be Hunkpapa’s cultural markers.
Language plays an important role in identifying original cultures; however it may be an obstacle for outside readers to get into the reading. The language of the Indian dialects, titles and terms are appropriately used in the text to enhance cultural authenticity. For example, “Wakan-Tanka”is the creator in Sioux, and the term of Tiyospaye and Tipi are the dwellings for Hunkpapa to live. Language flow is very calm and smooth in this story like an Indian telling his/her life experiences and customs while you are reading the book.
The original culture is identified as the Hunkpapa branch of the Lakota Sioux, and the year the story happened is also addressed at the beginning. Even though Bruchac is of the Abenaki descent, he writes a story about Hunkpapa, showing he values all Indian cultures by accurately presenting native languages, customs, dresses, symbols and settings.

D. REVIEW EXCERPTS
Publishers Weekly: “Bruchac's (see Gluskabe and the Four Wishes, reviewed above) 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. Satisfying for its attention to historical and multicultural issues; stirring in its consummate storytelling.”

Horn Book: “The pictures evoke a sense of timelessness and distance, possessing an almost mythic quality that befits this glimpse into history.”

Children's Literature: “Bruchac provides another dramatic story in which he tells how a young Sioux brave named Slow earned his name-Sitting Bull. Leading his tribe against the attack of the enemy Crow, Slow proves himself to be brave. The paintings are marvelous, almost mystical, and match the quiet force of this legendary hero.”

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. Many stereotypes of Native American culture are gently corrected, as when the author acknowledges that "women are the heart of the nation.'' The traditional Lakota explanation for the advent of horses is given alongside mention of their historical introduction by European explorers. Dialogue in the Native language helps to convey the richness of the culture. By the time Slow earns his new name, young readers will feel they know a real person-the man who was to become Sitting Bull, one of the great Sioux warriors and a hero at the Battle of Little Bighorn. This book works beautifully as historical fiction; it is less successful as biography as none of the dialogue is documented. An inspiring story.”

E. CONNECTIONS
Hunkpapa Sioux Indian Tribe History
http://www.accessgenealogy.com/native/tribes/siouan/hunkpapahist.htm

Other Children’s Literature with Hunkpapa Themes:
Aller, Susan Bivin. 2004. Sitting Bull.
Adler, David A. 1993. Picture Book of Sitting Bull.
Black, Sheila. 1989. Sitting Bull and the Battle of the Little Big Horn.
Collier, Lincoln James. 2003. The Sitting Bull You Never Knew.
Davis, C. Kenneth. 2003. Don’t Know Much about Sitting Bull.
George, St. Judith. 1931. To See with the Heart: The Life of Sitting Bull.
Isaacs, Sally Senzell. 2000. America in the time of Sitting Bull: 1840 to 1890.
Left Hand Bull, Jacqueline. 1999. Lokota Hoop Dancer.
Schleichert, Elizabeth. 1997. Sitting Bull: Sioux Leader.
Shaughnessy, Diane. 1997. Sitting Bull: Courageous Sioux Chief.

Resources come from Denton Public Library and TWU Library.

Book Review: INDIAN SHOES

A. BIBLIOGRAPHY
Smith, Cynthia Leitich. 2002. INDIAN SHOES. New York: HarperCollins Children’s Books. ISBN 0060295317.

B. PLOT SUMMARY
It is a story about Cherokee-Seminole, Ray and Grandpa Halfmoon who are the main characters in this book. The book is divided into six stories about the secure love between Ray and his grandpa as well as his extended family in Chicago and Oklahoma. In order to get a pair of moccasins for grandfather, Ray tries to trade his own high-top boots to him but it does not work. Finally, Ray wins third place for a drawing of grandpa’s boots in an art competition when he really feels he should have a received first-place. Finding a solution to a dreadful haircut by grandpa, caring for many pets of their neighbors on Christmas Day, going fishing with grandpa at midnight and realizing the true meanings of competition are all valuable examples presented by the author in a way that is both quirky and funny.

C. CRITICAL ANALYSIS
This is a contemporary Indian story. It tells about the relationship between Ray and his grandpa, and the love and care of his extended family. A few traditional culture markers can be found, such as Grandpa’s ponytail hair style and moccasins. Some rituals are the heritage of the colonists such as an ice-cream truck playing “Pop Goes the Weasel.” The fluent writing flow, which employs a dialectic form, i.e., “you’ll never be able to see the ball comin’,” helps to relate the story to the illustrations and enhance the interest of readers, giving them a deeper understanding of modern life among the Cherokee-Seminole Indians.

D. REVIEW EXCERPTS
From the Publisher: “ Cynthia Leitich Smith writes with wit and candor about what it's like to grow up as a Seminole-Cherokee boy who is just as happy pounding the pavement in windy Chicago as rowing on a take in rural Oklahoma.”

Publishers Weekly: "Though the author affectingly portrays the strong bond between grandson and grandfather, the narrative bogs down with flowery or overwritten passages (e.g., "Ray's and Grampa's breath puffed cloudy as they trudged next door to the Wang home. In the driveway, Mrs. Wang's VW Bug waited to be freed from the snow like a triceratops skeleton embedded in rock"). Kids may have trouble sticking with this collection. "

Children's Literature: “The chapters are short, easy to read, and Jim Madsen's appealing soft pencil illustrations are inviting. Easy chapter books about contemporary Native Americans are hard enough to find that readers may forgive the storyteller's overblown language as poetic licenseand enjoy the theme that it is the small things in life and the friendly connections with those you love that matter most.”

School Library Journal: “There are no mystical nature spirits or cathartic history lessons, only the everyday challenges common to any contemporary kid, as experienced by an Indian boy who is firmly grounded in his own family's heritage. With its unadorned portrayal of urban Indian life, Shoes is a good book for any elementary-aged reluctant reader, and a necessity for indigenous children everywhere.”

Kirkus Reviews: “An excellent choice for younger readers from the author of the bittersweet Rain Is Not My Indian Name (2001).”

E. CONNECTIONS
Cynthia Leitich Smith’s Official Author’s Webside: http://www.cynthialeitichsmith.com/CLS/cyn_books/shoes/indian_shoes.html

Other Nonfiction with Cherokee Themes:
Aaseng, Nathan. 2000. Cherokee Native v. Georgia: The Forced Removeal of a People.
Barrett, Tracy. 2000. The Trail of Tears: An American Tragedy.
Birchfield, D. L. 2004. The Trail of Tears.
Brill, Marlene Targ. 1995. The Trail of Tears: The Cherokee Journey from Home.
Bruchac, Joseph. 1999. Trail of Tears.
Burgan, Michael. 2001. The Trail of Tears.
Chiltoskey, Mary Ulmer. 1972. Cherokee Words with Pictures.
DeAngelis, Therese. The Cherokee: Native Basket Weavers.
Fitterer, C. Anne. 2003. Sequoyah: Native American Scholar.
Harrel, Sara Gordon. 1979. John Ross.
Hirshfield, Laura. 2001. Cherokee Heroes: Three Who Made a Difference.
Hoyt-Goldsmith, Diane. 1993. Cherokee Summer= Cwy ay.
Johnston, Tony. 1998. Trail of Tears.
Lepthien, Emilie U. 1985. The Cherokee.
Lowe, Felix C. 1990. John Ross.
McAmis, Herb. 2000. The Cherokee.
Oppenheim, Joanne F. 1979. Sequoyah: Cherokee Hero.
Press, Petra. 2002. The Cherokee.
Reed, Marcelina. 1993. Seven Clans of the Cherokee Society.
Roop, Peter and Connie. 1998. If You Lived with the Cherokee.
Rumford, James. 2004. The Cherokee Man Who Gave His People Writing.
Santella, Andrew. 2001. The Cherokee.
Sneve, Virginia Driving Hawk. 1996. The Cherokees: A First American Book.
Stein, R Conrad. 1993. The Trail of Tears.
Underwood, Thomas B. 1996. The Story of the Cherokee People.
Waxman, Laura Hamilton. Sequoyah.
Wheeler Jill. 1989. The Story of Sequoyah.

Book Review: THE STORY OF THE MILKY WAY: A CHEROKEE TALE

A. BIBLIOGRAPHY
Ross Gayle and Bruchac Joseph .1995. THE STORY OF THE MILKY WAY: A CHEROKEE TALE. New York: Penguin Putnam. ISBN 0803717377.

B. PLOT SUMMARY
This is a traditional Cherokee folktale told by a grandfather to his grandchildren. It shows people working hard to prepare and preserve food for the long frigid winter. A senior couple finds that some creature has stolen their cornmeal from their bins. They are very upset about their loss and being disrespected because no one should steal from their elders. Their grandson, Grandmother Sun, decides to catch the thief and finds the tracks of a giant dog. The Beloved Woman identified the dog as a spirit dog. Then, people in this community gather all together with their drums and turtle shell rattles to frighten it. Finally, the community members’ collaborate to scare and run the spirit dog away into the darkness.

C. RITICAL ANALYSIS
The story opens with the setting in the living room of a contemporary Indian family. There is a painting of people riding horses under a dark sky full of stars; another painting shows geometric shapes waving. A small vase, a pot with geometric shapes and dry corn are other cultural markers. All of these are arranged on the mantle.

The wooden frame houses, weaving tools, corn and cornmeal, agricultural implements, kitchen appliances, and hunting instruments hanging on the wall also present cultural markers in the story. Moreover women’s hair styles, men’s caps and their clothing help present clear portraits of Cherokee. The story identifies the original culture as Cherokee through its inclusion of traditional traits such as respect for senior persons, family relationship, and cooperation. All of these traits are Cherokee Indian in spirit.

Only a few Indian languages, such as titles, the Beloved Woman and Grandmother Sun are used in the text. Language with rhythm and rhyme plays important role for readers, encouraging them to keep on reading and easily catch the storyline. Men are the dominant character in most Indian stories; however, in this story women with long straight hair and children are dominant. Both the hunting dog and the spiritual dog are animal portraits in the story.

The story presents both modern and traditional Cherokee portraits. Even though the clothing and room settings are different between contemporary and traditional Cherokee Indian, the themes of respecting elders and family relationships never change.

D. REVIEW EXCERPTS

From the Publisher: “The author and illustrator capture the rhythms of the desert and the spirit of the Tohono O'odham people in a poem designed for choral reading.”

Children's Literature: “Although not all readers will be equally as ease with the rhyming verse, this is a rare portrayal of a little known traditional observance of the rhythms of the natural world.”

School Library Journal: “His use of deep tones and cotton ball clouds is reminiscent of Barbara Cooney's art. This is a versatile title that serves as both a social studies and language-arts extension.”

E. CONNECTIONS

Other picture books with Cherokee Themes:

Arneach, Lloyd. 1992. The Animal’s Ballgame.
Bannon, Kay T. 2001. Curious One: A Cherokee Legend.
Blevins, Wade. 1992. And Then the Feather Fell. mmpm. Lau T.
Blevins, Wade. 1996. A-ta-ga-hi’s Gift.
Blevins, Wade. 1992. Ganseti and the Legend of the Little People.
Blevins, Wade. 1996. Legend of Little Deer.
Blevins, Wade. 1996. Path of Destiny.
Blevins, Wade. 1994. Se-lu’s Song.
Blevins, Wade. 1996. The Wisdom Circle.
Bruchac, Joseph. 1993. The First Strawberries.
Bruchac, Joseph and James. 2001. How Chipmunk Got His Stripes.
Bushyhead, Jean L., Robert H. Bushyhead, and Kay T. Bannon. 2002. Yonder
Mountain: A Cherokee Legend.
Cohlene, Terri. 1990. Dancing Drum.
Craig, Idell. 1995. Cherokee Myths with Morals.
Dominic, Gloria. 1996. First Woman and the Strawberry: A Cherokee Legend.
Duvall, Debrah L. 2002. Great Ball Game of the Birds and Animals.
Duvall, Debrah L. 2003. How Medicine Came to the People A Tale of the Ancient Cherokees.
Duvall, Debrah L.2003. How Rabbit Lost his Tail.
Duvall, Debrah L. 2005. The Opossum’s Tail.
Duvall, Debrah L. 2004. Rabbit and the Bears.
Duvall, Debrah L. 2007. Rabbit and the Well.
Duvall, Debrah L. 2005. Rabbit and the Wolves.
Duvall, Debrah L. 2005. Rabbit Goes Duck Hunting.
Duvall, Debrah L. 2007. Rabbit Goes to Kansas.
Duvall, Debrah L. 2006. Rabbit Plants the Forest.
Ernesto, Lilly. 1995. How Grandmother Spider Got the Sun.
Haley, Gail E. 1996. Two Bad Boys: A Very Old Cherokee Tale.
Hamiltion, Anna Blanche. 1954. Rabbit Goes Duck Hunting.
Hurst, Hawk. 2001. Story of the First Flute.
Keams. Geri. 1992. Grandmother Spider Brings the Sun: A Cherokee Story.
King Thomas. 1992. A Coyote Columbus Story.
King Thomas. 1998. Coyote Sings to the Moon.
Lossiah, Lynn King. 2001. Cherokee Little People.
Michaelis, Catherine. 1994. How Earth was Made: A Cherokee Myth.
Moore MariJo. 2000. First Fire.
Moore MariJo. 2000. The Ice Man: A Traditional Native American Tale.
Moore MariJo. 2000. The Cherokee Little People: A Native American Tale.
Penn, Audrey. 2003. The Whistling Tree.
Pennington, Daniel. 1994. Itse Selu: Cherokee Harvest Festival.
Red Earth. 1998. Selu and Kana’Ti: Cherokee Corn Mother and Lucky Hunter.
Roop, Peter and Connie. 1992. Ahyoka and the Talking Leaves.
Ross Gayle. 1995. How Turtle’s Back Was Cracked: A Traditional Cherokee Tale.
Roth, Susan L. 1988. Kanahena: A Cherokee Story.
Roth, Susan L. 1990. The Story of Light.
Stroud, Virginia A. 1996. The Path of the Quiet Elk: A Native American Alphabet Book.
Stroud, Virginia A. 1995. A Walk to the Great Mystery.
Ugidali. 1981. Stories from Ugidali: Cherokee Story Teller.
Underwood, Thomas B. Cherokee Legends and the Trail of Tears.
Underwood, Thomas B. 1982. Te Magic Lake: A Mystical Healing Lake of the Cherokee.
Wood, Francis Eugene. 1998. Wind Dancer’s Flute.

Book Review: THE SKIRT

A. BIBLIOGRAPHY
Soto Gary. 1992. THE SKIRT. New York: Delacorte. ISBN 0679883339.

B. PLOT SUMMARY
Miata is a girl who always lost her stuff; she loses her combs, sweaters, books, homework and lunch money, and her mother is mad at her for this issue. The most serious thing is that she loses a skirt in the school bus on Friday after class. The skirt had belonged to her mother when she was a child, and now Miata is going to wear it to dance with the other two girls on Sunday after church. Miata and her best friend, Ana, tries very hard; they cross a fence to get into the parking lot and stretch the pole to open the bus door to reach her skirt. Miata gets hurt from falling down on the bump of the bus and almost gets caught by her father as well as run into her mother. Finally she gets the skirt back at a big adventure and the skirt as beautiful as usual. On early Sunday morning, Miata’s mother gives her a tremendous surprise by giving her a brand new skirt with bright new colors and fresh smell. She like the new skirt and feel sad for old one. Finally, Miata has a good idea to dance in wearing both two skirts.

C. RITICAL ANALYSIS
Soto, an author, spontaneously depicts cultural markers in his canon, and it is easy to find cultural markers in “The Skirt” as usual. The readers can easily tell the story is about a Mexican culture from the cover page which with Mexican stripes on words of the title, “Skirt,” as well as the number of each Chapter. Meanwhile, the traditional costume, a folklorico skirt, wears a rainbow of shiny ribbons on the bottom. The food, frijoles, papas fritas and her father’s favorite meal, carne del viernes are also other cultural markers.

The dialect language is the majority of the content in this book. Language involving lot of Spanish dialects and terms play an important role in this story. For example, “Todavia no esta aqui” said by Ana’s grandmother. Soto appropriately utilizes Spanish dialects into the dialects which vividly describing this story rather than enhance difficulty of reading for outside readers. Even though few of Spanish dialects are difficult for readers to understand at the first reading, they still can catch the meaning by reading the following content.

The fluent writing flow and easily read words as well as the intensive storyline about family life and their relationship, and friendships between Miata and Ana are impulses for readers to keep reading and stay eager to read the whole story at one time. Readers can feel the rhythm and tempo while they are reading.

D. REVIEW EXCERPTS
The Publisher: “A warm-hearted story about a contemporary Mexican-American family.”

Publishers Weekly: “spunky and imaginative'' heroine, Miata comes up with a clever plan to retrieve her beloved folklorico dance skirt.”

School Library Journal: “This is a light, engaging narrative that successfully combines information on Hispanic culture with familiar and recognizable childhood themes. The San Joaquin Valley, California, setting is realistically drawn, and the closeness of Miata's family is reassuring. A fine read-aloud and discussion starter, this story blends cultural differences with human similarities to create both interest and understanding.”

E. CONNECTIONS
The website information about Gary Soto

The official Gary Soto website: http://www.garysoto.com/
Gary Soto: A teacher resource file: http://falcon.jmu.edu/~ramseyil/soto.htm
FactMonster: http://www.factmonster.com/ipka/A0884322.html