Module 4: The White Stag/From the Mixed-Up Files of Mrs. Basil E. Frankweiler

The White Stag

A.    The White Stag is a re-telling of the legend of Attila the Hun and other famous mythological heroes from Hungary.  Nimrod, the progenitor of this line of heroes, has a vision that his children will lead their people to a promised land after a great deal of strife and a few generations. The group is lead out of Asia and into Europe by Hunor and Magyar though eventually a portion of the latter brother’s people split off to avoid further war.  The Huns, taking after Hunor, continue west, following Bendeguz and later Atilla.  Through a number of sightings of the white stag that gives the novel its title, the manage to crush a number of European armies and make their way to what is now known as Hungary, the promised land as foretold by the prophecies of Nimrod.

B.     Seredy, K. (1937). The White Stag. New York: Puffin Books.

C.     Overall, I found this book to be a bit dense and largely flat.  While based on myth, little time is spent to develop the main characters and even less on side characters.  Many of the deeds described within the novel fit with the “larger than life” theme that pervades so many mythological books, but it also makes the characters very difficult to relate to.  Only a pair of characters manages to capture emotional gravitas, and even then, only once they realize that they have made mistakes.  Admittedly, the only recognizable figure is Attila, but that does not mean that the characters must be two-dimensional.  The illustrations were well done however, and fit well with the ethereal style the author was intending to capture.  I would rate this book fairly low but I do give it credit for presenting a tale not often told.

D.    “This is one of the books that many adults think is beyond children, seven out of eight liking it very much isn't bad.” –R. E. Cundiff

Cundiff, R. E. (1943). Some children and the newbery medal books. Peabody Journal of

Education, 20(6), 330-335. Retrieved from http://www.jstor.org/stable/1489398

E.     The White Stag does lend itself well to ideas concerning heroism and what it means to be in charge of an entire group of people.  A number of the heroes in this myth make some less than benevolent decisions and I would ask the children to write about what being a hero means.  I would also ask them if there can be heroes that have made mistakes and ask that they write about or visually depict their favorite hero, whoever that would be.

The Mixed-Up Files of Mrs. Basil E. Frankweiler

A.    The Mixed-Up Files of Mrs. Basil E. Frankweiler details the exploits of Claudia and Jamie Kincaid as they run away from home and find shelter in the Metropolitan Museum of Art in New York City.  While the pair are initially concerned with evading museum security, keeping their stomachs full, and learning, they ultimately become entangled in a mystery surrounding a recently acquired statue at the museum.  The statue known as “Angel” quickly intrigues Claudia, and she enlists the help of her brother to determine who made the sculpture, suspecting it may have been the famous Michelangelo of the Italian Renaissance.  The story is told from the perspective of the titular Frankweiler who becomes involved toward the end as the previous owner of this unusual item.

B.     Konigsburg, E. L. (1998). From the mixed-up files of mrs. basil e. frankweiler. New

York, NY: Aladdin Paperbacks.

C.     This story retains a great deal of charm, despite a few outdated references and older slang terms.  The characters are easily relatable and do a great job of conveying the author’s message of cooperation and the discovery of self.  The personalities of the main duo contrast nicely and the irreverence with which they treat some of the museum items is fairly amusing and endearing.  The language is overall simple though for the most part, adult characters are absent save from very brief roles until the very end of the novel.  Still, running away from home and running into mystery is fairly likely still to resonate with kids as a great many of them have at least contemplated the act at some point.

D.    “…the children also discover that the young and the very old are alike in their need to share experience and to have secrets, and in their creative ability to satisfy these needs.” –C. Billman

Billman, C. (1983). Young and Old Alike: The Place of Old Women in Two Recent

Novels for Children. Children's Literature Association Quarterly, 8(1), 6.

doi:10.1353/chq.0.0233

“This tendency to view the unreal as merely an extension of the real gives Konigsburg’s work a Dickensian flavor, reminiscent of Great Expectations (1861) or Oliver Twist (1838), though her narratives, complex as they may be, are much simpler and more straightforward. The point, however, is that her fiction has a similar range.” –W. Condon

Condon, W. (1991). From the Mixed-Up Files of Mrs. Basil E. Frankweiler. Masterplots\  II: Juvenile & Young Adult Fiction Series, 1-3.

E.     I would challenge the kids to investigate the library and find an article, either online, or in a newspaper or magazine, and come up with a small story explaining those events.  It does not need to be elaborate, but they should look up something that interests them and try to come up with some way to include them in the article to where they have an effect on the outcome of the story.  This sort of reversal of cause and effect may help their creative drive by coming up with some way to explain an event that has already transpired without their input.

Module 3 Saint George and the Dragon/Golem

Saint George and the Dragon

A.    Saint George and the Dragon is the retelling of the myth of the trials of the titular George as he fights to save a kingdom from the Dragon ravaging the countryside.  Saint George is established as a heroic character, empowered by the fairy folk around England but is a human knight.  His confrontation with the dragon at the bequest of Princess Una takes three days of intense fighting and recovery before George finally sees his foe slain upon the fields of Una’s kingdom. 

B.     Hodges, M., & Hyman, T. (1984). Saint George and the Dragon. New York City:

Scholastic.

C.     The book is a simpler but well done retelling of the classic legend.  While a number of details are altered from other versions of the story, such as the princess not being captured by the dragon, there are enough variations to the tale that this is no issue.  As a Caldecott winner, the illustrations are beautiful and invoke Romantic depictions of the same characters and scenes.  The tone of the artwork tends toward the serene, even in the action sequences, almost giving the illusion that George is in complete control of the combat, despite the overwhelming odds.

D.    “In this Caldecot Medal-winning book, Hyman built up tones of colors by painting thin layers of acrylic. These muted, expansive land-scapes with deep space serve as quiet, serene backdrops for a dramatic tale of heroic bravery.” –Mary Erbach

Erbach, M. M. (2006). Classic Caldecotts by Decade. Book Links, 15(6), 16-20.

E.     For this book, I would ask the kids to design a coat of arms for themselves.  Each could depict a quest or famous undertaking and be used as a way for them to represent what they care about or defend.  Pre-cut paper in the shape of a shield would be ideal, but beyond that, only standard coloring supplies would be necessary.  I might also recommend having a few child-friendly books of heraldry on hand to help them come up with designs based on mythological creatures or other standard heraldic devices.

Golem

A.    Golem is a depiction of a Jewish myth that features a powerful humanoid construct made out of clay named Joshua.  This Golem is designed to protect the Jewish people from increasing oppression and harm and yet develops a peaceful and contemplative side.  The golem’s creator only sees the being as a tool, and though Joshua is respected amongst the people he protects, ultimately, he is turned back into clay once the danger that was visited upon the Jews has passed.  The clay used in Joshua’s creation is then protected, in case the golem is ever needed again.

B.     Wisniewski, D. (1996). Golem. New York City: Houghton Mifflin Company.

C.     I was immediately struck by the dynamic and stylistic art which marked this work as a Caldecott winner.  The pieces work very well with a book that features myth and legend as primary subjects and does a good job of portraying these larger-than-life characters.  The ending may be a little bleak for some audiences, but the spirit of the story stays true to the original myth and does not shy away from some of the darker aspects of the story.  The author does an equally good job of portraying a peaceful, inquisitive Joshua and focuses on different angles to represent the wrathful, protective Joshua.  This is a good addition to any library’s collection, personal or public.

D.    “In illustrating Golem, through color and design, Wisniewski metaphorically expresses that the flawed creation of the golem (named Joseph in his version) is actually the flawed and suppressed nature within the human creator Rabbi Loew. In this way, Wisniewski's golem serves as the Jungian shadow for the rabbi. In the most obvious illustration for the whole book, the cover itself, Wisniewski places Rabbi Loew in the central foreground with not his own shadow, but Joseph's huge, dark one looming behind him.” –Amy Sonheim

Sonheim, A. (2003). Picture books about the golem: Acts of creation without and within.

The Lion and the Unicorn, 27(3), 377-393. Retrieved from

http://search.proquest.com/docview/221779684?accountid=7113

E.     This would be a good time to bring clay to the kids and ask them to create their own “guardian”.  In this case, the children could design their own clay golem in whatever image they would want.  Access to a kiln would be necessary, but it would make for a nice keepsake and allow creative control over what their protector would look like.  For a less messy version, this could just as easily be done with standard art supplies like crayons and paper.

Module 2: Are You There God? It's Me Margaret/The Outsiders

Are You There God? It's Me, Margaret

A.       Margaret is a 6th grader who has recently moved to a New Jersey suburb after living most of her life  in New York.  She quickly makes friend with whom she bonds over the joys and agonies of growing up though she is simultaneously distraught by the categories she does not fit into.  Her family upbringing did not include any form of church and she is trying to reconcile her Jewish and Christian heritage, defined by the opposing forces of both of her sets of Grandparents, while also dealing with social cliques, boys, and puberty.  Her relationship with God is not defined by any religious institution but is rather a series of informal and personal pleas for guidance and help. 

B. Blume, J. (2001). Are you there god? It's me, Margaret. New York, London, Toronto, Sydney, Singapore: Atheneum/Richard Jackson Books.

C. Overall, I would recommend this book.  It contains a very frank discusion of a number of topics that would interest girls of that age, but more importantly, the search for a sense of belonging and to understand is an inherent quality all of humanity can share.  The author never passes judgement on a character for liking something, only on those who try to force conformity.  The overall message is a common one, for one to be who they are and not worry about how many other people feel the same way, but it is executed humorously and well.  The main character doesn't feel the need to pontificate the author's point for any great length of time but rather lets the reader decide what is right and what isn't.  It helps that the author takes a very friendly and open tone with the main character, almost as if she is speaking to the reader.

D. "The concept of a personal relationship with God, rather than a church-based one seems to reflect the younger generation's need for faith in conjunction with their parents' cynicism and rejection of the grandparents' version of religion as divisive and exclusionary. After moving through rejection or apathy, one can arrive at a personal level of faith which requires no service, no ornate or incomprehensible service, no tedious sermons, and no silly hats." -Anne Erickson

Erickson, A. K. (2006). Literary Contexts in Novels: Judy Blume's "Are You There, God? It's Me, Margaret". Literary Contexts In Novels: Judy Blume's 'Are You There God, It's Me Margaret', 1.

E. In this case, I would either have the kids write a letter, or perhaps a diary if I anticipate a long project, where they address a letter to someone.  It can be anyone they want it to be, their parents, a sibling, a best friend, an imaginary friend, God, or even themselves.  The goal would be to say whatever is on their mind.  While I would allow the kids to share this letter with their peers, they by no means have to.  It would simply be to allow them to put words to their fears, concerns, joys, or triumphs.

The Outsiders

A.       Ponyboy and his group of friends, collectively known as "greasers", are used to getting the short end of the stick.  Most are poor, urban youth who have had a rough life.  Few have any long-term job prospects and even fewer see much of a life beyond stealing, fighting, and the occasional party.  They come into constant conflict with their upper-class counterparts known as "Socs" and it is this conflict that drives much of the plot of the novel.  Ponyboy is a studious kid, and tries to do his best by his brothers Soda and Darry after the death of their parents.  A chance meeting with a Soc girl named Cherry and a fight gone wrong that ends up in the death of her boyfriend causes Ponyboy to begin to question how different the two groups are, and how destructive his gang's path is.  

B.        Hinton, S.E. (2003). The Outsiders. New York, New York: Speak/Penguin Group

C.       This book is as frank about class issues as Blume's work is about religion.  The main character comes off as young but smart and likeable and serves as a good narrator for this world that many never consider.  The book is a little dated and references to drive-in movies, soda shops in a drugstore, and 60's era cars may not resonate with the kids of today.  Despite this, the message of our similarities is well thought out, and the honesty with which it is presented does much more to illustrate this idea than any number of speeches or lectures.  The characters are idealized in the beginning but are slowly conveyed with more humanity as we learn more about their pasts, emotions, and fears.  It has all of the workings of a classic.

D. "Hinton has stated that she wrote The Outsiders because it was the kind of story that she wanted to read. Tired of books filled with clichés and obligatory happy endings, she longed to write stories about real people with real problems, hoping to earn the respect of her audience by giving them stories to which they could relate." -Martel Sardina

Sardina, M. (2010). The Outsiders. Masterplots, Fourth Edition, 1-3. 

"The greasers and Socs of the novel represent two clear socioeconomic groups in this world, and their ignorance and hatred of each other are what lead to the class warfare. Differences are created by social class, Hinton says, but underneath these superficial differences are people who share more than what separates them." -David Peck

Peck, D. (2006). The Outsiders. Magill’S Survey Of American Literature, Revised Edition, 1-2.

E.      A good activity might be a group discussion where we effectively try to chart what the differences between the rich and the poor are.  The goal would be to try to illustrate what each group thinks about the other and hopefully get the kids to think about why they feel the way they do and why another group might feel the way they do. 

Module 1: Miss Smith's Incredible Storybook

A. Miss Smith's Incredible Storybook is a tale in which a 2nd grader by the name of Zack is enchanted by the reading skills of his new teacher, the titular Miss Smith.  Though initially reluctant to enjoy reading, the stories within Miss Smith's book seem to come alive to Zack and the rest of his class.  While things go well, when the the school principal, Rittenrotten, is charged with filling in for Miss Smith briefly, things quickly spiral out of control.  Eventually, between the principal and the children, a number of story characters are crowding up the classroom as more stories are read without being finished.  Eventually, Miss Smith arrives to set things right, much to the chagrin of the principal, but to the delight of the class.

B.  Garland, M. (2003). Miss smith's incredible storybook. New York, New York: Dutton Children's Books.

C. The book is of good quality, and one I think I would have enjoyed as a child.  It incorporates the best part of reading fiction, namely the visual aspect.  The whimsical imaginings of the class helps encourage the young readers to become good readers like Miss Smith.  Storybook characters are depicted as beings controlled by experienced readers and the best stories can convey the feeling of being part of the world an author has created.  This is how I primarily connect to reading and it conveys the idea in easy to understand, yet profound concepts.

D. "The brightly-colored pictures will instantly hold little ones spellbound as the story reveals how stories can indeed take readers to a place far away." -Bridget Slayden

Garland, M. (2004). Miss Smith's Incredible Storybook (Book). Library Media Connection, 22(6), 56. 

"A brief but animated invitation to the pleasures of reading, as well as a tribute to unconventional teacherseverywhere."

MISS SMITH'S INCREDIBLE STORYBOOK (Book). (2003). Kirkus Reviews, 71(11), 803.

E. The primary assignment for children who have recently heard or read this book would be to have them draw a scene from their favorite story.  It would be good to encourage them to put as much detail into as they can think of.  The idea is to get them to think about stories as more than just words, but as mental "pictures" as well.