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Celebrate Teen Lit Day with 10 Strong Female Leads

Fire, by Kristin CashoreToday marks the very first Support Teen Literature Day, a part of YALSA/ALA’s National Library Week. So how can you support teen literature? By reading teen books, of course! Over the next few days I’ll be posting some great YA titles with appeal for teens and adults alike. To kick off, here are 10 excellent reads with strong female protagonists–some fun, some thought-provoking–released over the 2009-2010 season. Thanks to the Harvard Coop & NESCBWI list for the picks!

Want the whole list? Get a PDF here; get just the titles here.

Update: Links go to Amazon or B&N, but aren’t affiliate links.

1. CATCHING FIRE, Suzanne Collins
Every year in Panem, the dystopic nation that exists where the U.S. used to be, the Capitol holds a televised tournament in which two teen “tributes” from each of the surrounding districts fight a gruesome battle to the death. In The Hunger Games, Katniss Everdeen and Peeta Mellark, the tributes from impoverished District Twelve, thwarted the Gamemakers, forcing them to let both teens survive. In this rabidly anticipated sequel, Katniss, again the narrator, returns home to find herself more the center of attention than ever. The sinister President Snow surprises her with a visit, and Katniss’s fear when Snow meets with her alone is both palpable and justified. Catching Fire is divided into three parts: Katniss and Peeta’s mandatory Victory Tour through the districts, preparations for the 75th Annual Hunger Games, and a truncated version of the Games themselves. Slower paced than its predecessor, this sequel explores the nation of Panem: its power structure, rumors of a secret district, and a spreading rebellion, ignited by Katniss and Peeta’s subversive victory. Katniss also deepens as a character. Though initially bewildered by the attention paid to her, she comes almost to embrace her status as the rebels’ symbolic leader. Though more of the story takes place outside the arena than within, this sequel has enough action to please Hunger Games fans and leaves enough questions tantalizingly unanswered for readers to be desperate for the next installment.–School Library Journal

2. FIRE, Kristin Cashore
This fantasy, shot through with romance and suspense, is set in the same world as Graceling (Dial, 2008), but on the far side of the mountain barrier in the kingdom of the Dells. Here there are monsters, enhanced and exceptionally beautiful versions of various animal species. Fire is a human monster, so beautiful that she has to hide her hair for fear of attack by both raptor monsters and human men. She is able to enter other people’s minds and exert power over them. It is a tumultuous time in the kingdom, as various lords are preparing to overthrow the king, and Fire is drawn into the fray. With a larger cast and a more complex canvas than Graceling, the story begins slowly and takes its time establishing itself. Fire’s path is not immediately clear, and although full of action, her quest is largely internal. While the plotting is well done, there are a few quibbles about Cashore’s world-building and about the role of a major character from Graceling, Leck. But, this is Fire’s story, and readers will fall in love with her as she struggles with her pivotal role in the war effort as well as her complex relationships with her oldest friend and lover, Archer; with Prince Brigan, whose mind is closed to her and who becomes central to her life; and with her monster father’s fearsome legacy. More adult in tone than Graceling, this marvelous prequel will appeal to older teens, who will not only devour it, but will also love talking about it.—Sue Giffard, Ethical Culture Fieldston School, New York City, for School Library Journal

3. ASH, Malinda Lo
Described as “Cinderella…with a twist,” Ash is in many ways the familiar fairy tale about a girl’s move from comfort to despair to true love (with a little help from fairies and magic). Standard Cinderella images set up the story: after losing her mother and later her father, Ash is treated as a servant in the home of an unkind stepmother and two unfriendly stepsisters. She has ties to the fairy world, attends the royal ball in an enchanted dress, catches the eye of the prince, and finds love by the end of the story. However, while structural similarities exist, ideologically Lo’s beautiful and dark tale takes the story to a new place. It is not about Ash being found and saved by a charming prince; instead, it is about her courtship with Kaisa, the King’s huntress, a relationship that burgeons over time and is based on more than just initial attraction. Despite Ash’s grief, oppressive guardianship, and dangerous flirtation with the fairy Sidhean, who promises to steal her away from her sadness, the protagonist finds her own salvation and chooses to live and love in the real world and on her own terms. Ash will appeal to readers looking for GLBTQ titles, but fans of romance, fantasy, and strong female protagonists will also embrace this fine debut novel.–Jennifer Miskec, Longwood University, Farmville, VA

4. LIAR, Justine Larbalestier
Biracial Micah Wilkins, 17, is the quintessential unreliable narrator. On the first page, she readily admits she’s a liar though now she wants to tell her story straight. She attends a progressive private high school in New York City. She’s a bit peculiar, with extra-human speed and sense of smell, and has few friends. After another student, a popular senior named Zach, is found brutally murdered, it comes to light that he and Micah had a relationship outside of school. Now she is considered a suspect. Her suspenseful, supernatural tale is engrossing and readers will be tempted to fly through it, though the wise will be wary of her spin and read carefully for subtle slipups and foreshadowing. The chilling story that she spins will have readers’ hearts racing as in three sections she goes from “Telling the Truth,” to “Telling the True Truth,” to “Telling the Actual Real Truth,” uncovering previous lies and revealing bizarre occurrences in the process. Micah’s narrative is convincing, and in the end readers will delve into the psyche of a troubled teen and decide for themselves the truths and lies. This one is sure to generate discussion.—Patricia N. McClune, Conestoga Valley High School, Lancaster, PA for School Library Journal

5. THE EVOLUTION OF CALPURNIA TATE, Jacqueline Kelly
A charming and inventive story of a child struggling to find her identity at the turn of the 20th century. As the only girl in an uppercrust Texas family of seven children, Calpurnia, 11, is expected to enter young womanhood with all its trappings of tight corsets, cookery, and handiwork. Unlike other girls her age, Callie is most content when observing and collecting scientific specimens with her grandfather. Bemoaning her lack of formal knowledge, he surreptitiously gives her a copy of The Origin of Species and Callie begins her exploration of the scientific method and evolution, eventually happening upon the possible discovery of a new plant species. Callie’s mother, believing that a diet of Darwin, Dickens, and her grandfather’s influence will make Callie dissatisfied with life, sets her on a path of cooking lessons, handiwork improvement, and an eventual debut into society. Callie’s confusion and despair over her changing life will resonate with girls who feel different or are outsiders in their own society. Callie is a charming, inquisitive protagonist; a joyous, bright, and thoughtful creation. The conclusion encompasses bewilderment, excitement, and humor as the dawn of a new century approaches. Several scenes, including a younger brother’s despair over his turkeys intended for the Thanksgiving table and Callie’s heartache over receiving The Science of Housewifery as a Christmas gift, mix gentle humor and pathos to great effect. The book ends with uncertainty over Callie’s future, but there’s no uncertainty over the achievement of Kelly’s debut novel.—Jennifer Schultz, Fauquier County Public Library, Warrenton, VA for School Library Journal

6. GOTH GIRL RISING, Barry Lyga
In this sequel to The Astonishing Adventures of Fanboy and Goth Girl (2006), Lyga dives with typical boldness into the complexity of teen emotions and, for the first time, the female perspective, starting with the first lines: “Before she went and died, my mom told me to stop bitching about my cramps all the time.” This time, it’s Goth Girl, or Kyra, who narrates. Back home after a depressive breakdown and months spent in a psych ward, she pours out her anger: at Fanboy, who has serialized the comic she’d helped develop during their attraction-charged friendship; at her father, whose smoking she links to her mother’s fatal cancer; and at a general culture that encourages women, including her teachers, to exploit their sexuality, even as she struggles to understand her own attractions to both boys and girls. Instant messages, grief-soaked poems, and letters to her hero, Neil Gaiman, add more angles to Kyra’s raw, furious, heartbroken narrative. More than the meandering story line, it is Kyra’s wholly believable questions and her forceful voice that will stay with readers. –Gillian Engberg for Booklist

7. BLOODHOUND: THE LEGEND OF BEKA COOPER, (series), Tamora Pierce
Fans of Pierce’s medieval fantasy police-procedural series will love this book as much as Terrier (Random, 2006). Beka, 17, is serving her first year as a Dog (police officer) in the Provost’s Guard. She and her mentor and old partner, Goodwin, are sent from Corus to Port Caynn to try to discover the source of the counterfeit silver coins that are flooding the region, causing soaring grain prices and riots in Corus. Beka is accompanied by Achoo, the scent hound she rescued from its abusive handler. While in Port Caynn, she and Goodwin tangle with Pearl, Queen of the Thieves, and her crew. Beka falls for Dale, a handsome and charming gambler and bank courier who may be in league with Pearl. The action drags a bit in the middle to focus on the romance but makes up for it in the end. Pierce vividly imagines this world in which police procedures are different, yet similar to those of today. Ponce, Beka’s wise cat, who is also a God, is mostly absent but Beka’s other unusual magical sources of information-pigeons inhabited by talking ghosts of the dead and spirits in spinning dust funnels—continue to add to the series’ appeal. Beka is as headstrong and feisty as ever and frequently makes errors in judgment but is willing to learn from her mistakes. She truly earns the nickname Bloodhound as she faithfully narrates her story through journal entries.—Sharon Rawlins, New Jersey State Library, Trenton for School Library Journal

8.THE FOREST OF HANDS AND TEETH, Carrie Ryan
Mary’s village has been trapped for generations by a very near, very visible menace: the Unconsecrated-insatiable, flesh-eating zombies that constantly tear at the village’s fences. Yet the Sisterhood-a conventlike order of religious women charged to protect the village’s survival-is as much responsible for the submission of Mary’s village as the Unconsecrated. When the fences are breached and the village overrun, Mary and several others escape through gated paths and arrive deep into the Forest of Hands and Teeth, forced to search beyond it for their future. Mary’s observant, careful narration pulls readers into a bleak but gripping story of survival and the endless capacity of humanity to persevere. That Mary maintains emotional distance serves to render her yearnings and romantic feelings even more poignant and powerful. Fresh and riveting. –PW

9. FOREST BORN, Shannon Hale
In her fourth fantasy about the land of Bayern, Hale has created a strong stand-alone companion to The Goose Girl (2003), Enna Burning (2004), and River Secrets (2006, all Bloomsbury). Forest Born centers on Razo’s sister, Rin, and her special abilities. The struggle that she goes through as she begins to recognize her talent of persuasion and her elemental connection to the forest brings the typical fantasy themes of good vs. evil to a place that makes them very personal. Rin discovered as a child that her words could be powerful. But that power left her feeling confused and wrong. Since that time, the wrongness has curled up like a snake inside her, making her doubt whether she can ever find peace. Rin encounters Isi, Enna, and Dasha from the previous Bayern stories and through them she finds hope; perhaps what makes her different could be a blessing, if she is able to find balance in her gifts. Lurking throughout the story is the tumultuous backdrop of diplomatic negotiations and threats of war. Everything finally comes to a head when Isi’s nemesis from Goose Girl returns and kidnaps her son. All four women need to work together to defeat Selia, who has been completely corrupted and consumed by her people-speaking power of persuasion. Fans of the earlier titles as well as admirers of the genre will find Rin’s journey a compelling read.—Genevieve Gallagher, Buford Middle School, Charlottesville, VA for School Library Journal

10. DRAGONFLY, Julia Golding
Establishing one’s sense of self, working and sacrificing for a greater purpose, and accepting and understanding people’s differences are all strong themes in this British import. The arranged marriage between the reserved and disciplined Princess Taoshira, 16, and the rogue Prince Ramil, 18, is not an appealing prospect to either teen. But their lands need to form a strong bond of diplomatic connections in order to fend off attacks from the bloodthirsty warlord Fergox Spearthrower, and they have been called upon to do what is right for their people. Their relationship gets off to a disastrous start and goes downhill from there. Taoshira is put off by his brash and loud behavior that fails to recognize or respect her values and traditions while Ramil finds her cold, unworthy of her title, and completely unappealing. When the two are kidnapped, a riveting adventure ensues and opposites attract. Although the arc of the love story is fairly standard, the subplots make it an engaging read for a variety of readers. Romance, trickery, graphic and bloody fight scenes, adventure, religious persecution, and politics are all a part of this compelling tale.—Genevieve Gallagher, Buford Middle School, Charlottesville, VA for School Library Journal

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Before iBooks, There Was the Vook … But Are Vooks Relevant in the Era of the iPad? (at Popmatters.com)

Over the past few months, excited chatter and disgruntled skepticism about the iPad from Apple has dominated the conversation in the newly-plowed terrain of electronic book publishers; before the advent of the iPad, however, there was the Vook (rhymes with book).

Read more @ PopMatters…

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Too Much Pop Culture? A Look at Lise Haines’ Girl in the Arena

Is there such a thing as too much pop culture? Can characters drink too much Coke, play too much Xbox, and eat too many power bars? (*cough* Tom Clancy, *cough*) Or does the instant reader familiarity and cheat relatability make this level detail of worthwhile?

Read more @ PopMatters…

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Thank You Come Again (at the-NRI.com)

Apu Nahasapeemapetilon is a legend of Indian cinema.

Sort of.

Over the past twenty-one years, several Simpsons characters have made their way into the zeitgeist–several of whom are minority characters. But rather than being vilified, Apu has been claimed, somewhat lovingly, by Indian convenience store owners everywhere. How do I know? In December of 1989, the year The Simpsons hit the small screen, my family packed up our lives and moved north, to own and operate a Food Store.

Read more @ The NRI…

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Reading Kidlit: Kids’ Books on the iPad

April 3rd heralded a good weekend for books–or a bad weekend, depending on your perspective. According to this article in PW, over the April 3rd weekend, in excess of 250,000 books were “sold” (current numbers include a lot of freebies and public domain downloads)–on the iPad. But the e-lit frenzy doesn’t stop there: of the more than one million apps downloaded over the launch weekend, many of which were book-apps. Given the furor raised by the reading and publishing potential of the iPad, it’s not surprising that books and app-books did so well. The real surprise? The number of children’s titles that made the top spots.

Six out of the top ten paid book-apps were kids’ books, and not all of them were cheap. The Miss Spider’s Tea Party app, based on a popular counting picture book about a spider who wants to throw a tea party but is feared by everyone because she’s a spider, is a virtual coloring book, letting kids fingerpaint their own versions of the illustrations. Other apps, like OceanHouse Media’s Dr. Seuss titles, are more educational, highlighting text as a narrator reads aloud; when a picture is touched, the associated word appears, helping younger readers put two and two together. Here’s the breakdown, via PW.

Top children’s book-apps:

  • Toy Story 2 Read-Along, Disney Books
  • How to Train Your Dragon
  • Miss Spider’s Tea Party
  • The Goose That Laid the Golden Egg

Children’s and YA titles that made the top 10 free downloads in the iBookstore:

  • Toy Story Read-Along
  • Twilight, the Graphic Novel (Lite), Vol 1
  • ABC Dinosaurs–iPad edition

Top 5 Paid kidlit and YA titles:

  1. Eclipse, Stephanie Meyers (second in the Twilight series)
  2. The Lightning Thief, Rick Riordan
  3. Twilight, Stephanie Meyers
  4. Breaking Dawn, Stephanie Meyers (third in the Twilight series)
  5. The Berenstain Bears Go To Sunday School, Michael Berenstain, Stan Berenstain, & Jan Berenstain

Will the iPad Encourage Reading, or Hinder It?

Anyone who’s ever walked around a Toys ‘R’ Us knows that Disney knows about merch. There’s a Disney available for every age group, from infant crinkle books to Hannah Montana branded guitars. And Disney has a large, loyal parent following–a large, loyal following the company clearly intends to suck into iPad world.

On launch day, Disney started out with just one book-app, the Toy-Story 2 Read Along. But there are plans in the works to release at least another 4 book-apps over the next two months. According to Jeanne Mosure, senior v-p and group publisher of Disney Publishing Worldwide, these book-apps actually make “children more excited about the prospect of reading more and buying more books.”

Educational book tie-ins also promise to be big business–3 of the 6 top kids book-apps are educational-related titles (If Twilight had educational titles available, it may have been all 6). And Oceanhouse Media, producer of the two Dr. Seuss book-apps, is focused on using its products for good. According to Michel Kripalani, Oceanhouse’s president, “Ted Geisel was all about teaching kids how to read. Every feature we put into this book has to support reading and teaching kids how to read.”

Reading in Solitude

So far, it appears that most of the early reader books-apps are similar to the educational reading toys many parents already provide for their kids, a more interactive form of the Leapfrog/Fisher Price &c. read to me kind, a market Disney is already tapped into. And education is good, right? Well, right. Except that while books-apps may encourage early readers, they may also make reading a more solitary activity.

Isn’t reading already a solitary activity? For older children and adults, yes. But babies, toddlers, and early readers can’t get inside a book on their own, and require someone else to read to or with them. Creating a family connection through books is part of fostering a love of reading and, while some toys may make a parent/sibling/grandparent less necessary to the process, few (Leapfrog’s tag reading system comes to mind) replace them altogether, because younger children need help with the physicality of reading–opening the book, holding the book, turning the pages, recognizing where the story ends on one page and begins on the next.

The iPad takes away the necessity of an older adult–as this video making the rounds of the interwebs shows, using the iPad is intuitive, even to children as small as two and an half. And the idea that reading and book-apps are educational might lead some parents to sit their kids in front of the iPad as babysitter, because the educational sheen of its apps makes it seem like a lesser evil than the idiot box.  (And it may be–is iPad interactivity better than television’s zero interactivity? I don’t know.)

Bringing More Books Home?

Over the past few years, libraries all over the US have been closing their doors due to lack of funding and resources. And buying books can get expensive–especially buying children’s books. Services such as the International Children’s Digital Library, a non-profit and “library for the world’s children,” help fill the gap, providing free texts and activities for young readers. From the ICDL mission statement:

The mission of the International Children’s Digital Library Foundation (ICDL Foundation) is to support the world’s children in becoming effective members of the global community – who exhibit tolerance and respect for diverse cultures, languages and ideas — by making the best in children’s literature available online free of charge. The Foundation pursues its vision by building a digital library of outstanding children’s books from around the world and supporting communities of children and adults in exploring and using this literature through innovative technology designed in close partnership with children for children.

The ICDL now offers a free iPad app, created in conjunction with the University of Maryland, in an effort to help kids get even more out of their library. Allison Druin, director of the Human-Computer Interaction Lab at the University of Maryland, points out that “The way children read books is sitting on their bed, sitting with their parents. Laptops are good, but an iPad is going to be even more freeing. The more that our technologies afford the feeling of what was once only able to be given to us through paper, the more we don’t notice what the technology is, and we just care about the content.”

It’s possible that for every ICDL book downloaded on the iPad, three book-apps with half a dozen bells and whistles will also be downloaded. And a lot of the kids without access to bricks and mortars libraries fall into the tech gap, with family incomes that don’t allow for whizz-bang consumer tech. But where Apple leads, others tend follow–the iPad is more of a prototype than anything else, and less expensive consumer-oriented tablets, also with free library apps and software, will probably appear within the next few years. By then, every kid will have to buy one, because the way library closings are going just now, there won’t be any brick and mortar options left.

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YA Fiction: 10 Graphic Novels You Wish You’d Read Sooner

The Rabbi's Cat, Joann SfarOnce upon a time, graphic novels were “those things my dorky kid brother reads”. Over the past few years, though, graphic novels have come into their own, and popular titles are being adapted to the format in an effort to reach a broader audience (or sell more books to collectors, *ahem* Twilight *ahem*). Here are a few great reads you may’ve missed the first time around.

Want the whole list? Download a PDF, here; get just the titles, here.

* book may be hard to find
** best for older teens

1. THE BOOKS OF MAGIC, Neil Gaiman, illustrated by Scott Hampton, Charles Vess, & Paul Johnson
Considered by some to be an early Harry Potter, The Books of Magic introduce Timothy Hunter, a weedy kid with glasses and a pet owl. Timothy is introduced to the world of magic by the Trenchcoat Brigade, a quartet of fallen mystics (and familiar faces to DC readers) who are aware that the boy has the potential to be the world’s greatest magician, but that his allegiance to good or evil is undecided. They take him from the birth of the universe all the way through to its eventual death, ostensibly teaching him about the possibilities – and the price – of wielding magic before he decides whether to embrace his destiny. Along the way, Tim meets some of the DCU’s more prominent magicians and fantasy characters, whilst his allies try to protect him from the machinations of the Cult of the Cold Flame. Following his misadventures, Tim decides that the price is too high . . . only to find that everything he has learnt from his supposed mentors has made it impossible for him to turn away from magic.

2. AMERICAN BORN CHINESE, Gene Luen Yang
As alienated kids go, Jin Wang is fairly run-of-the-mill: he eats lunch by himself in a corner of the schoolyard, gets picked on by bullies and jocks and develops a sweat-inducing crush on a pretty classmate. And, oh, yes, his parents are from Taiwan. This much-anticipated, affecting story about growing up different is more than just the story of a Chinese-American childhood; it’s a fable for every kid born into a body and a life they wished they could escape. The fable is filtered through some very specific cultural icons: the much-beloved Monkey King, a figure familiar to Chinese kids the world over, and a buck-toothed amalgamation of racist stereotypes named Chin-Kee. Jin’s hopes and humiliations might be mirrored in Chin-Kee’s destructive glee or the Monkey King’s struggle to come to terms with himself, but each character’s expressions and actions are always perfectly familiar. True to its origin as a Web comic, this story’s clear, concise lines and expert coloring are deceptively simple yet expressive. Even when Yang slips in an occasional Chinese ideogram or myth, the sentiments he’s depicting need no translation. Yang accomplishes the remarkable feat of practicing what he preaches with this book: accept who you are and you’ll already have reached out to others.

3. EMMA, Kaoru Mori
Meticulously researched and beautifully rendered, EMMA is a beloved, award-winning series that was adapted into an acclaimed anime series in Japan. In Victorian-era England, a young girl is rescued from a life of destitution and raised to become a proper British maid. Emma meets William, the eldest son of a wealthy family, and immediately falls in love with him. William shares her feelings, but the strict rules of their society prevent their relationship from ever coming out in the open. Traditional class distinctions and rich, historical details provide the backdrop for this appealing romance.–DC Comics

4. THE WALL: GROWING UP BEHIND THE IRON CURTAIN, Peter Sis **
Born out of a question posed to Sís (Play, Mozart, Play!) by his children (Are you a settler, Dad?), the author pairs his remarkable artistry with journal entries, historical context and period photography to create a powerful account of his childhood in Cold War–era Prague. Dense, finely crosshatched black-and-white drawings of parades and red-flagged houses bear stark captions: Public displays of loyalty—compulsory. Children are encouraged to report on their families and fellow students. Parents learn to keep their opinions to themselves. Text along the bottom margin reveals young Sís’s own experience: He didn’t question what he was being told. Then he found out there were things he wasn’t told. The secret police, with tidy suits and pig faces, intrude into every drawing, watching and listening. As Sís grows to manhood, Eastern Europe discovers the Beatles, and the Prague Spring of 1968 promises liberation and freedom. Instead, Soviet tanks roll in, returning the city to its previous restrictive climate. Sís rebels when possible, and in the book’s final spreads, depicts himself in a bicycle, born aloft by wings made from his artwork, flying toward America and freedom, as the Berlin Wall crumbles below. Although some of Sís’s other books have their source in his family’s history, this one gives the adage write what you know biting significance. Younger readers have not yet had a graphic memoir with the power of Maus or Persepolis to call their own, but they do now.–Publishers Weekly, ages 8 & up.

5. PERSEPOLIS, Marjanne Satrapi
Persepolis is the story of Satrapi’s unforgettable childhood and coming of age within a large and loving family in Tehran during the Islamic Revolution; of the contradictions between private life and public life in a country plagued by political upheaval; of her high school years in Vienna facing the trials of adolescence far from her family; of her homecoming–both sweet and terrible; and, finally, of her self-imposed exile from her beloved homeland. It is the chronicle of a girlhood and adolescence at once outrageous and familiar, a young life entwined with the history of her country yet filled with the universal trials and joys of growing up. Edgy, searingly observant, and candid, often heartbreaking but threaded throughout with raw humor and hard-earned wisdom–Persepolis is a stunning work from one of the most highly regarded, singularly talented graphic artists at work today.

6. THE RABBI’S CAT, Joann Sfar **
Sfar, the French cartoonist behind the Little Vampire children’s books, has come up with a hilarious and wildly original graphic novel for adults. The nameless, scraggly-looking alley cat who narrates the story belongs to an Algerian rabbi in the ’30s. When the cat eats a parrot, he gains the power of speech and tries to convince his master to teach him the Torah, raising the question of whether the appropriate age for his bar mitzvah should be in human years or cat years. Of course, being a cat, he has plenty of impertinent opinions about Judaism. That’s a delicious setup on its own, but it gets better when the cat loses his speech again halfway through, and the story becomes a broader, more bittersweet comedy about the rabbi’s family and the intersection of Jewish, Arab and French culture. The rabbi’s daughter Zlabya marries a young man from a nonobservant family in France. The Algerian family’s visit with their Parisian in-laws is the subject of the final and funniest section of the book. Sfar’s artwork looks as mangy and unkempt as the cat, with contorted figures and scribbly lines everywhere, but there’s a poetic magic to it that perfectly captures this cat’s-eye view of human culture and faith.

7. EPILEPTIC, David B. **
The cartoonist’s memoir of growing up in a family in which his brother’s grand mal epilepsy regularly took center stage is packaged here in its entirety. Although the first part of this book appeared in English in 2002, published by L’Association, there is no demarcation within the current volume to show where that break in the story occurred–nor does there need to be. David B. reports on the childhood adventures and interests he and his siblings shared–including warrior fantasies, a fascination with World War II, and drawing–and the family’s increasing involvement in seeking help for coping with the epilepsy. The latter half of the complete work continues through adolescence and into manhood, including David B.’s education in art college and his founding of L’Association. His brother’s failure to respond for any duration to any form of treatment or to adjust to life with a chronic disease is presented with unsentimental but humane forthrightness. The heavily inked images include many hallucinatory panels, and subplots involve the grandparents’ prejudices, David’s developing relationships outside the family, and his continued interest in his family. While the final difficulties revolve around the author and his inability to become a father, most of the book is both accessible and of high interest to teens.–Francisca Goldsmith, Berkeley Public Library, CA

8. THE RUNAWAYS, Brian K. Vaughan, illustrated by Adrian Alphona
This unusually clever, fun teen comic is based on the novel premise that parents don’t just seem evil, they actually are evil supervillains. Or so some kids find out one night while eavesdropping on a dastardly meeting they take to be a cocktail party. Although the children are each a “type” right out of sitcom land-the goth girl, the brain, the jock, the dreamboat, the shy one-they’re also fairly empathetic characters. Vaughan’s closely observed dialogue lends them authenticity and pathos as they go through the disturbing realization that their parents aren’t just jerks but actually mass-murderers. The plot builds from this initial discovery, as the kids band together, discover they, too, have superhuman powers and engage their parents in good, old-fashioned superhuman fisticuffs. The group goes on the run and discovers their parents have all of Los Angeles in their pockets-it’s enough to make a teenager feel more alienated than ever. Alphona’s dynamic, manga-influenced artwork agreeably complements Vaughan’s crisp writing. They tell the story with clarity, a dollop of drama and just enough pizzazz to hook video game-obsessed readers. Packaged in a manga-size paperback, Marvel’s attempt to tap both the manga and the young adult market nicely succeeds.–Publishers Weekly

9. 1001 NIGHTS OF SNOWFALL, Bill Willingham, illustrated by Charles Vess, Esao Andrews, & more **
Probably the smartest mainstream comic going, Fables usually concentrates on the contemporary activities of characters from children’s stories who now are living as secret refugees in New York. This collection gives glimpses of their individual backstories before the armies of the brutal Adversary drove them out of Fairyland. Readers will learn, for example, what spoiled the Big Bad Wolf’s disposition and what happened to the witch after Hansel and Gretel pushed her into the oven. It would be relatively easy to do clever, merely cynical readings of the fairy tales, but Willingham is after something much more interesting. Like Neil Gaiman and Tanith Lee, he’s reimagining the old stories, trying to see why they have survived and also to point out the aspects they somehow neglect: it’s only natural that Snow White would take revenge on the seven little rapists who abducted her, but the independent way she goes about it casts doubt on her subservient relationship to Prince Charming. Willingham reminds readers of how much they ignore in their anxiety to believe that all stories end happily ever after. Artists like Charles Vess, Mark Buckingham and Jill Thompson work up to the level of the perceptive scripts, making this a memorable, uncomfortably amusing treat.–Publishers Weekly

10. BUDDHA, VOLUME 1: KAPILAVASTU, Osamu Tezuka
Tezuka, the master of Japanese comics, mixes his own characters with history as deftly as he transfers the most profound, complex emotions onto extremely cartoony characters, and his work defies easy categorization. In Buddha, originally serialized in the 1970s and one of his last works, he lavishly retells the life of Siddhartha, who isn’t even born until page 268. Instead, Tezuka introduces Chapra, a slave who attempts to escape his fate by posing as the son of a general; Tatta, a crazed wild child pariah who communes with animals; Chapra’s slave mother, who stands by him no matter what; and Naradatta, a monk attempting to discover the meaning of strange portents of the Buddha’s birth. Throughout the book, the characters engage in fresh and unexpected adventures, escapes and reverses, as they play out Tezuka’s philosophical concern with overcoming fate and the uselessness of violence. Despite episodes of extreme brutality and broad humor, the core of the story revolves around various set pieces, as when Tatta sacrifices himself to a snake to save Naradatta and Chapra’s mom. After a moment of intense emotion, the scene is upended by the arrival of a bandit who mocks their attempts at keeping their karmic slates clean. “Why were you all fussing over some stupid trade? Why not just kill the snake and eat it?” The answer unfolds over succeeding volumes. Heavily influenced by Walt Disney, Tezuka’s often cute characters may take some getting used to, but his storytelling is strong and clean. Appearing in handsome packages designed by Chip Kidd, this is a stunning achievement.–Publishers Weekly

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Reading YA: Reading Fast, Writing Poorly, & Getting Old

Old Woman, by leocubYoung adult literature is popular for a reason. It’s full of tight storytelling, engaging characters, and authentic, relatable voices. Why? Because it has to be. Teen readers are discerning and intelligent, and will toss aside books with unrealistic/unrelatable characters or a condescending tone. And yet, teens read a lot of poorly written crap (read more about poor writing in my earlier post, here).

I read a lot of YA, partially because I like it, and partially because I think it’s important to stay on top of my field. And I’m passionate about what I read–I love some books to pieces, and hate others with the sort of vitriol I usually save for drivers who speed through crossings I am walking across with a stroller (this happens more often than you might think). Over the past year, though, almost every YA novel that’s been recommended to me has fallen into the latter category. Why? Poor writing.

Writing Poorly?

Poor writing, for me, isn’t about grammar (though misusing apostrophes will instantly garnish your writerly stock). Poor writing is what happens when writers (myself included) forget about:

  1. Flow–transitioning from one idea to the next without jolting me out of the story
  2. Smoothness–text that’s easy to read aloud, lacking in jarring/clunky sentences
  3. Word choice–using words correctly, or using the correct form of a word in the right place (practice v. practise, they’re v. their)
  4. Imagery/Atmosphere–using strong words to draw the reader into the story, set up a certain idea, scene, or theme

These four things fall into what I call “craft stuff”. Craft stuff is like a bonus, an extra reason to read and enjoy book, something beyond the story/plot/characters that enhances the reading experience. Many authors (arguably to their detriment, but that’s a whole other post) ignore the craft stuff in favor of the bigger picture–a compelling story.

Reading Fast & Getting Old

I am old. At least, I feel like I am (having a baby will do that to you). Later this month, I turn 29, putting me ten years past what is, technically, the upper limit of YA. And while this isn’t particularly significant in terms of life in general, it’s very significant in terms of my reading life.

As children and teens, we devour books. Stories consume us, forcing us to read longer and faster. But as we grow older, things change. High school English classes teach us how to read, focusing on comprehension and discussion. College lit introduces us to research, derivation, and lines of influence, reshaping the way we read everything from the newspaper to the grocery list to our favorite author. The older we grow, the more unforgiving we become.

Not sure what I mean? Half a dozen people I respect have suggested I read Michael Scott’s Secret of the Immortals series, particularly since I have a strong interest in myth and fairy tale. Yet when I finally carved out time to read The Alchemyst I was disappointed. The writing was poor, the sentences were clunky and hard to read, the characters irritating in their naivete. The story, when I did finally grasp it, was interesting though very derivative. But when I actually spent some time outside my own head, I saw that these issues were my issues, my frustrations and baggage realized in print.

The Alchemyst isn’t a bad book–if you’re young. It’s meant to be absorbing and read fast, not picked apart for a book group or savored over hot chocolate and madeleines. It’s written for a young audience, an audience without a grounding in mythology and fairy tale, an audience still forming tastes and opinions. A lot of YA is written this way–Michael Buckley’s Sisters Grimm series and early Tamora Pierce* (particularly the Song of the Lioness series) come to mind.

In some ways, blaming my age for my problems with certain books is wussing out. Taste in books is a very subjective thing, and not all stories will appeal to all people. Saying I’m too old (or too young) for a given novel is a neat way to skirt dangerous ground and avoid insulting authors and readers alike. Worse, playing the blame game makes me sound as if I don’t value craft stuff. The thing is, I do think of writing as a craft. And Michael Scott’s writing annoys me, greatly, because I think it lacks craft. Could The Alchemyst be better written? Yes. Would it attract the same readers? I don’t know.

Craft v. Story

Pride and Prejudice is a classic. The characters are instantly relatable, and Austen’s wit shines through. The story forms the basis of many modern love novels, and the original has spawned dozens of sequels. But for every reader who loves P&P, there’s a reader who doesn’t get it, a reader who gets lost in the language and slips out of the story. Many readers who love the movie adaptations find the original text inaccessible or, worse, intimidating, and never make it past that first, perfect line. (Austen is the soul of intimidation–her work (except maybe Northanger Abbey) has a certain “yes, I know, I’m very clever, and you simply cannot help laughing at my wit” feel that can be quite off-putting.) Yet retellings, like Helen Fielding’s Bridget Jones’ Diary, are often lumped in with chick lit, or dismissed as “pop trash”.

The Alchemyst, The Sisters Grimm, and the Song of the Lioness series have one glaring feature in common: they’re fantasy. And while fantasy is often well written, it’s also (for good or bad) the catch-all easy genre, the genre many serious YA readers (teens and adults) look down on. But fantasy is also one of the most popular YA genres–not just because of the vampires and werewolves (or their predecessors, elves and goblins) but because it’s accessible. Does this mean fantasy authors should skip craft stuff? No. But it may mean that plot is more important than a perfect sentence. Of course, we already knew that, didn’t we?

*I love Tamora Pierce, especially her later work. I think her early work is a little raw, and it took me a while to get into it, but her stories are captivating, and I think she deserves some slack because her books were so original for the time, and originality is its own kind of greatness.

Her more recent stuff is brilliant–marvelous storytelling/craft and great plot. Go read some. Now.

Do you care about craft in the books you read? Do you read fast? Slowly? What’s your definition of poor writing? Is it excusable?

Get the first part of this discussion, here.

Image credit: leocub

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The Case For Writing Poorly, Or Using Straightforward Prose

Writing is a numbers game–the more books you sell, the more money you make. If you write fast, it’s even better. Getting a book out every year for ten years (Jasper Fforde’s goal), if you sell enough, could be quite lucrative (and your hourly rate might actually approach positive numbers). Yet writing, good writing, takes time to craft. Story, characters, and prose itself do not happen overnight, particularly if you’re fond of tight dialogue and polished writing. But here’s the secret: not all readers are writers, and a lot of them don’t care about your perfectly polished prose.

Poor writing–a term I hear bandied about once or twice a year, whenever I’m in a group of writers–is not simply writing badly. It’s the perception of writing badly, of writing in a way that focuses less on literature and writing, and more on reading.

Don’t get me wrong–metaphor, allegory, and description are three of my closest friends. Whenever I read a passage I truly love, I add it to my Quotes & Adorations file, saving (and savoring) it for a time when I need a little literary love. But pop fiction, from chick lit to cozy mysteries, is popular for a reason: it’s easy to read, easy to digest, and easy to dispose of when you’re done.

It’s easy to dismiss pop fiction as trash for the masses. It’s also dangerous to dismiss pop fiction as trash for the masses. Why?

All books, even those which may be irritating/annoying/present a point we don’t agree with, have value.
The masses are aptly named–they’re the majority of readers, the folk who make bestsellers bestsellers.

Hello, my name is Peta, and I am a literary snob. I look my down my overly large Indian nose at many books, particularly when I’m in a funk over my own writing. I am irritated by clunky prose, drawn out of stories by dry dialogue, and find words like “ain’t” only a few ellipses short of repulsive. I pride myself on being able to craft a good sentence. I’ve also been known to spend hours crafting that one sentence.

Generally speaking, though, readers are not looking for a perfect sentence. They’re not looking to deconstruct a book, or get together and create a literary love file. Much as I–literary snob and book geek that I am–hate to admit it, the general reader is not looking for carefully polished prose. Most readers are looking for the Big Three:

Entertainment
Thought-provoking plot or characters
Familiar, straightforward writing

But straightforward writing, while not necessarily literary or writerly (writerly in a bad, overwrought sense) is a good thing, because it’s, well, straightforward, and easily understood by the lowest common denominator.

The Lowest Common Denominator

Finding the lowest common denominator is not just something you do in elementary math. (Though I do love fractions. Something about those little numbers and slashes makes me very happy. Recurring decimals? Blech.) But the lowest common denominator, in figurative terms, is similar to its mathematical counterpart: it’s a way of finding the broadest possible common ground, something that appeals to everyone, i.e. the masses. (I’m not using LCD in a derogatory sense–I’m a big fan of the masses, being one of them and all.)

Column writing provides a great example of appealing to the lowest common denominator. To write a successful column, it’s important to think about audience, and find the same wavelength as your audience. Craig Wilson, a columnist for USA Today, does this by using simple, clear language–most of his columns use common words with a maximum of two syllables. This isn’t because Wilson has a poor vocabulary, or because he thinks his readers have mashed prunes for brains. It’s because, for a popular columnist, getting the story across is more important than stringing together a few pretty words. (Fun fact: the word “prose” actually comes from a Latin word meaning “straightforward discourse”.)

In terms of fiction, writing for the lowest common denominator is not quite so simple, because there’s genre to consider. Hard science fiction readers have different interests, and a different threshold to historical romance readers. Each genre (even literary fiction) has its own language (I almost wrote “lexicon”, then remembered this is a post about straightforward writing). Historical romance readers may be familiar with terms like “farrier” and “roustabout” while science fiction readers are not. Shooting for just the historical romance reader may alienate potential readers skimming in a bookstore or taking a stroll through a friend’s shelves. Yet over-explaining, or using very simple language (“farrier” vs. “the man who makes horse shoes and takes care of hooves”), could frustrate experienced genre readers. So where is the line?

Putting Genre-Specific Language in Context

In a recent, very unscientific polling of my bookshelves, I discovered that my favorite authors are those who use context to explain or describe important details. Let’s say I’m writing a novel with a farrier named Percy. The first time I introduce Percy, I might write:

Farriers–horseshoe makers–were a welcome sort in every town, a fact Percy played to his advantage. Offering a three shoe for the price of two deal every Sunday, Tuesday, and Friday, he reminded his more intelligent customers that no, a better deal could not be got elsewhere, because there was, in fact, no other elsewhere, as Percy’s nearest competition was one hundred miles away, or eight hours by a regular horse, and twelve hours by a three-shod one, so they’d best take advantage of his deal and buy twelve shoes to save four hours.

Later, when I want to revisit Percy, but not go into such horse-shoeing detail, I could use sensory details to remind the reader of what a farrier is:

Athenia breathed deeply, savoring the farrier’s scent of sweat, fire, iron, and the forge mingled with the foppish apple tobacco he preferred.

The brief description of scents associated with Percy the farrier remind the reader that a farrier is, amongst other things, a type of metalworker. Added to other contextual clues, this is enough to ground the unfamiliar reader without irritating the seasoned one.

A Note on the Lowest Common Denominator in YA

Finding the lowest common denominator in a YA audience is a bit strange, because YA isn’t written along handy-dandy genre lines. And teens are less entrenched in a particular kind of reading, and are willing to jump around subject matter, so the general genre language rules don’t apply. Just be honest, write authentically, take a few deep breaths, and everything will be okay. Or at least as okay as it ever is. Of course, getting a handle on familiar style might also help…

On Thursday, I’ll have more about “writing poorly” and YA, in my very creatively titled post, Reading Fast, Writing Poorly, & Getting Old.

Looking for an example of straightforward, popular fiction? Check out this free download of Heat Wave, a Richard Castle novel, from ABC.com.

Do you write for everyone? Or do you stick to a specific audience? Why?

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Birbal and the NRI (at the-NRI.com)

When I was small, my father told me stories. Sometimes they were standard fare, rehashings of Cinderella or Goldilocks and the Three Bears (he particularly liked Goldie because it starts with one of his favorite foods–porridge with honey). As I grew older, though, Dad started throwing in other stories, Indian stories he’d heard growing up. My favorite? Birbal.

Read more @ The NRI…

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Holidays: 8 Picture Books to Celebrate Passover

The Matzah Man: A Passover Story, Naomi HowlandToday is the third day of the Jewish Holiday, Passover. Here are eight books – one for each night – that discuss different aspects of the holiday, from fitting everyone around the table (Only Nine Chairs) to hosting a Seder during the Holocaust (The Secret Seder).

Want the whole list? Download a PDF, or just grab the titles. Come back tomorrow for my Easter picture book picks!

*Book may be hard to find

1. THE FOUR QUESTIONS, Ori Sherman and Lynne Sharon Schwartz
Why is this book different from all other books? It is an elegant, accessible retelling of the Four Questions asked at a Passover Seder. Sherman’s glorious jewel-toned paintings are patterned and richly detailed, with a curious menagerie of animals, wearing yarmulkes and some clothing, acting out the symbols of the holiday. Each of the Four Questions is asked in English; turn the book upside down, and the question appears in Hebrew calligraphy. The facing picture is split, with images facing each direction as well. This technique enables the book to be used during the Seder: those on each side of the table can see what is going on. The story itself is exciting and timely, telling of the slavery of the Jews, the ten plagues, the exodus from Egypt, and the hope for freedom throughout the world. The book explains the history and the symbolism of the holiday and the items on a Seder plate. The final spread shows the order of the Seder. The pictures are exquisite, the telling lyrical. This is the most eye-catching, most refreshing book available for young children on this holiday. Older children can get more information from Miriam Chaikin’s Ask Another Question: the Story and Meaning of Passover (Clarion, 1986), but The Four Questions will find a wider appreciative audience. –David Gale, for School Library Journal, ages 3 & up

2. THE MATZAH MAN: A PASSOVER STORY, Naomi Howland
Howland (Latkes, Latkes, Good Enough to Eat) makes the story of the Gingerbread Man kosher for Passover in a picture book that improves with repeat readings. Set in an indeterminately old-fashioned community where ladies wear white gloves, hats and fox stoles to go shopping, the story opens as the baker has made a little man out of leftover matzoh dough. Here it is Cousin Tillie, sampling her tender brisket; Auntie Bertha, the shopper; Grandpa Solly, chopping onions for gefilte fish; Miss Axelrod, adding the last matzoh ball to a pot of chicken soup; and a variety of animals who chase after the impish Matzah Man. The storytelling seems attenuated the first time around but all those matzoh-chasers play a role in the satisfying surprise finale. Children will want to return to the beginning to see how neatly Howland sets up her premise. Collage elements (these create the Matzah Man) mingle unobtrusively with almost drab gouaches in the illustrations, which, despite their unprepossessing first impression, are crammed with lively details.–Publisher’s Weekly, ages 4 & up

3. ONLY NINE CHAIRS: A TALL TALE FOR PASSOVER, Deborah Uchill Miller, illustrated by Karen Ostrove
The whole family is coming for Passover in Only Nine Chairs. Deborah Uchill Miller’s rollicking rhyming story mixes tradition with fun, taking young readers through a Passover meal that lacks seats for ten people. Should some sit on the stairs? In the attic? Karen Ostrove’s expressive cartoons add to the humor of this hilarious text as parsley is dipped with fishing rods and a matzah mountain formed. Kids will love searching the pictures to discover how each family member is trying to solve the problem. The family finally finds a believable and utterly satisfying solution to their problem—until one final guest arrives.–Mary Quattlebaum, for Barnes & Noble, ages 3 & up

4. SAMMY SPIDER’S FIRST PASSOVER, Sylvia A. Rouss, illustrated by Katherine Janus Kahn
In this seasonal follow-up to Sammy Spider’s First Hanukkah, the eager arachnid’s mother teaches him to make a web when theirs is laid waste by a “monster”–a broom being used to ready the Shapiros’ home for Passover. Though Sammy becomes fascinated by his mother’s explanations of the holiday traditions, he is repeatedly told, “Spiders don’t celebrate Passover. Spiders spin webs.” Following instructions, Sammy completes a new web and participates in the Shapiro family observance after all. Using cut-paper artwork made festive with cheery patterns, Kahn depicts a contemporary human family (complete with kitty), and a mother-son spider duo reminiscent of Eric Carle’s creations.–Publisher’s Weekly, ages 3 & up

5. DINOSAUR ON PASSOVER, Diane Levin Rauchweger
The friendly, oversize creature from Dinosaur on Hanukkah returns to celebrate Passover with a boy and his family. In silly, rhyming text, the reptile tries to help perform the holiday rituals: removing the forbidden foods, preparing the horseradish, singing the four questions, drinking the wine, retelling the story of the Exodus, eating matzah, searching for the afikomen, and welcoming the prophet Elijah. While his size, enthusiasm, and clumsiness wreak havoc on the family Seder, by the end of the story he is curled up in a heap fast asleep. The illustrations are bright and sophisticated, complementing the cheery mood of the text. A brief endnote explains Passover, but the book will be best enjoyed by children already familiar with the holiday.–Rachel Kamin, Temple Israel Libraries & Media Center, West Bloomfield, MI for School Library Journal, ages 3 & up

6. ON PASSOVER, Cathy Goldberg *The Secret Seder, Doreen Rappaport & Emily Arnold McCully
As a young girl prepares for Passover with her family, she uses all her senses to experience this important Jewish holiday. Everyone in her family answers her questions (which are an integral part of Passover) and playfully encourages her to understand more deeply what they are celebrating. Her father tells her that it is important for Jewish people to celebrate Passover every year so that they can always remember what it was like when people were slaves in Egypt, and so they can pray for all the people in the world who don’t have freedom. The girl learns that Passover has things to see (feathers, candles, and spoons), smell (gefilte fish and chicken soup), taste (matzah bread), hear (songs and blessings), and feel (the softness of the silk matzah cover). Passover is a time to ask questions. But most of all, she says, Passover is “a wonderful feeling in my heart, dyenu.” (Hebrew for “it would be enough.”)
Cathy Goldberg Fishman’s gentle, lilting child’s-eye-view of Passover is a quiet extravaganza of the senses. Melanie W. Hall’s wonderfully Chagall-like collagraph and mixed-media illustrations create a mystical backdrop that evokes history and tradition as it commemorates ancient symbolic ritual. This is one of four in a series by the author/illustrator team, including On Rosh Hashanah and Yom Kippur, On Hanukkah, and On Purim.–Emilie Coulter for Amazon.com, ages 5 & up

7. THE SECRET SEDER, Doreen Rappaport, illustrated by Emily Arnold McCully
Amid the plethora of Holocaust children’s literature emerges yet another picture book that uses the themes of exodus and freedom associated with Passover to contrast the reality of Nazi-occupied Europe. The narrator is a French boy whose family lives openly as Catholics, but secretly observes their Jewish faith. Despite the fear that their true identity will be discovered, he and his father attend an all-male Seder held in an abandoned shack in a nearby forest. They arrive with a roasted egg for the meager Seder plate, which lacks many of the traditional ingredients. One man says, “We have no bitter herbs to dip in salted water,” while another replies, “We do not need bitter herbs….Our lives are bitter enough.” The highlight of the evening is when the boy recites the four traditional questions, which he had secretly practiced with his mother. The men provide secondary answers to the customary ones: “I think tonight is different because tonight all over Europe, Jews are being murdered.” Their sadness, fear, and misery are underscored by the idea that tonight they are free in their hearts and by their hope for a brighter future. Watercolors depicting gloomy, foreboding images of the village, forest, and shack counter the child’s memories of happier meals at his grandmother’s home. Rappaport interweaves themes and descriptive text to create a meaningful story in a distinctive setting. An excellent discussion starter. –Rita Soltan, Oakland University, Rochester, MI for School Library Journal, ages 8 & up

8. THE MATZAH THAT PAPA BROUGHT HOME, Fran Manushkin, illustrated by Ned Bittinger
A charming rephrasing of the traditional cumulative song “Had Gadya” that captures all the excitement, magic, inspiration, high jinks, and eventual exhaustion of a family celebrating a Passover Seder. Here, instead of a goat, the poem revolves around the matzah that Papa brings home, which inspires the feast that Mama makes, the seder they all share, etc. While the text is well done and great fun, the illustrations, rendered in oils, are stellar. Each masterful painting has a subtext. The family members are constantly moving or gesturing while some are intent on praying or singing, a girl is shushing the dog, and a boy is intent on stealing the matzah. During the recapitulation of the plagues, the artist depicts real frogs and locusts jumping out of the wine glasses. The search for the hidden afikomen is positively frenetic, and the picture of the youngest child standing tall and proud (and still) to ask the Four Questions has great impact. Three pages at the end tell the story of Passover. A unique, lively offering.–Marcia Posner, Federation of New York and the Jewish Book Council, New York City, ages 4 & up

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