RAPUNZEL retold by Paul O. Zelinsky

BIBLIOGRAPHY

Zelinsky, Paul O. 1997. RAPUNZEL. New York: Dutton Children’s Books. ISBN 0525456074

PLOT SUMMARY

With an appetite that could kill her, a pregnant woman sits by her window desperately wanting a taste of the rapunzel in the sorceress’ garden next door.  To keep her alive, her husband sneaks the herb from the garden for his wife. Day after day he does this until one day he gets caught.  The sorceress demands a deal that in order to return alive to his wife with the rapunzel, the baby must be turned over to the sorceress when delivered.  Without much choice, the husband agrees and the sorceress raises the child as her own and names her Rapunzel.  When the girl is older, the sorceress takes her to a high tower to live with no entrance except the window at the top.  The only way for the sorceress to visit Rapunzel is to climb up her hair.  So she cries out, “Rapunzel! Rapunzel! Let down your hair!” and then climbs up.  A handsome prince, traveling near the tower hears Rapunzel singing and after spying on the sorceress, he realizes how to see Rapunzel.  The two fall in love, are married without a ceremony, and Rapunzel becomes pregnant.  As her dress grows too tight, the sorceress learns of her affair and in a frantic rage, cuts off her hair and banishes her to a wild country where she gives birth to twins.  After learning of Rapunzel’s fate, the prince falls from the tower and is crippled with blindness.  He stumbles and wanders for a year until eventually reaching the wild country where Rapunzel and the twins are living.  He hears her singing and is reunited.  Her tears of joy flood his eyes and his sight returns.  The prince gazes at his newfound family and realizes he is in the land where he reigns.  From there, the family lives joyfully in his kingdom. 

                                                              

CRITICAL ANALYSIS

RAPUNZEL is a conflicted and action-filled journey through time for its characters.  Rapunzel and her husband represent the good and decent while the sorceress is symbolic of evil in the world.  The conflict resonates throughout the story and the reader shares in the family’s joy at being reunited and overcoming the evil of the sorceress.  A garden and beautiful homes set the stage for the story as well as the tower which comes later.  According to Zelinsky and his illustrations, the time of his version of this story is the Italian Renaissance era.  His pictures are reminiscent of paintings from this era and encompass strong colors, architecture, and dramatic effects such as “billowing drapery” and “light falling on tree leaves.” 

Though a children’s story, the story of events are quite grotesque. For instance, the pregnant mother dying from not eating the rapunzel she craves. Other events such as the sorceress taking the baby, then locking her up in a tower sheltered from all are also disheartening.  Later her hair is chopped off, she is banished from all, and the prince falls to what should-have-been his death.  These happenings could all be upsetting for children of certain ages.  It’s a large plot with definite relief in the happy ending.  With an assortment of variations of this story, Zelinsky’s tale is carefully researched, thought-out, and executed according to his professional opinion.  He states that his story embodies, “the most moving aspects of the story with the most satisfying structure, and brings out its mysterious internal echoes.”  The repeated elements are kept in place with the sorceress and prince calling out to Rapunzel to let down her hair.  A captivating story for readers of assorted ages, Rapunzel encapsulates the true essence of folktales, culture, and unity with illustrations.   

REVIEW EXCERPTS

KIRKUS REVIEWS – “Exquisite paintings in late Italian Renaissance style illumine this hybrid version of a classic tale.”

PUBLISHERS WEEKLY - "A breathtaking interpretation gives the fairy tale new art-historical roots, with illustrations that daringly—and effectively—mimic the masters of Italian Renaissance painting."

CONNECTIONS

*Teachers can order rapunzel (in America) or Chiltern Seeds (type of rapunzel) from England to be tasted or planted.

*Read RUMPLESTILTSKIN and conduct an author study or compare the two traditional stories.

*Read another variation of RAPUNZEL and compare.

*Discuss the step-mothers in other stories such as CINDERELLA, SNOW WHITE, and other tales. 

*Have students rewrite their own variations of the story. 

*Have a Renaissance exhibit showcasing clothing, armor, weaponry, and incorporate books from this era. 

THE FIRST STRAWBERRIES: A CHEROKEE STORY retold by Joseph Bruchac and illustrated by Anna Vojtech

BIBLIOGRAPHY

Bruchac, Joseph. 1993. THE FIRST STRAWBERRIES: A CHEROKEE STORY. Ill. by Anna Vojtech. New York: Dial Books for Young Readers. ISBN 0803713312

PLOT SUMMARY

The first couple, created by the Creator , were happy until one day they quarreled.  The woman, upset with her husband’s harsh words, left on foot.  The regretful husband went after her but was unable to catch her quick steps.  The Sun, having watched the events unfold, felt sorry for the husband and chose to help him.  He sent raspberries first but they did not catch the eye of the wife.  The Sun then sent blueberries and then blackberries but neither caught the eye of the wife.  Finally, the Sun sent strawberries that “glowed like fire.”  The wife saw the berries and was amazed at their sweetness.  She began to pick them to give to her husband.   The two reunite at the strawberries and forgive each other for their quarrel.  According to the Cherokee story, this is when strawberries were created on Earth and they will always be a reminder “to be kind to each other” and “that friendship and respect are as sweet as the taste of ripe, red berries.”

CRITICAL ANALYSIS

The story of THE FIRST STRAWBERRIES maintains its early integrity and is simply retold by Bruchac.  The two main characters reflect common human qualities of anger and quarreling.  The story is set in the beginning of time, far away from here and includes an outside moving setting.  The woman travels away from her husband in a very short amount of time and events happen quickly.  The primary purpose of this story is for moral teaching.  It supports a universal lesson of treating each other kindly.  This final realization by the couple is rewarding to the reader.  Bruchac’s story contains cultural references such as the husband being the hunter and gatherer while the wife should be at home cooking the meal.  The Cherokee also commonly refer to nature and in this story it is the Sun that brings them back together.  The illustrations showcase their way of dressing and looking.  The illustrations also keep the story going as some pages do not have any text.  The literal picture of the wife walking away helps the reader grasp the feeling the wife has and her determination to leave.  The pictures are mainly neutral colors which provide a somber and calm mood.  This also allows the strawberries to jump off the page with their bright red color.  The bright, cheeriness of the strawberries encourages the excitement of the reader as the couple reunites.  The simplicity of the story and the illustrations makes it easy to uphold the moral of the story and repeat the story without having the book.    

REVIEW EXCERPTS

Kirkus Review – “Quietly luminous watercolors capture details of dress, dwelling, implements, flora, and fauna against an open landscape of rolling hills.”

Publisher’s Weekly – "Spare text, an uncomplicated story line and gentle illustrations keep this quiet but resonant tale accessible to even the youngest child…"

CONNECTIONS

*Compare to the following books:

"The Legend of the Strawberries." In Chiltoskey, Mary Ulmer. Aunt Mary, Tell Me A Story: A Collection of Cherokee Legends and Tales. Ed. Mary Regina Ulmer Galloway. Cherokee, NC: Cherokee Communications, 1990.

*In doing study of the Cherokee Indians, students can read one of many Cherokee –tale books. The Librarian could pull a cart of them, set them up and have students pick one.

*Ask questions about how the characters felt and what the moral of the story is and then follow up with self-concept lessons and the power of speaking kindly to others. 

*Use playdough as your self-concept and have the students say something negative about you and rip off a part of the playdough and keep it in their lap.  Show them how your self-concept is diminished and hurt and broken-down by their words.  Then have the students replace their playdough and say a positive comment about you.  Discuss the importance of building other’s up.

THE THREE LITTLE PIGS by JAMES MARSHALL

THE THREE LITTLE PIGS by JAMES MARSHALL

BIBLIOGRAPHY

Marshall, James. 1989. THE THREE LITTLE PIGS. New York: Dial Books for Young Readers. ISBN 9780758738042

PLOT SUMMARY

In Marshall’s tale of THE THREE LITTLE PIGS, the events begin just as we all know them with three pigs building houses out of different materials such as hay, sticks, and brick.  The first two pigs have their home blown down by the wolf and he eats them.  The third pig, being protected in his brick home, beings the change in the story.  Though he could not blow his house down, the wolf continues to proposition Pig.  He hopes to lure him out of the house by meeting him at places, like the fair.  Pig outsmarts the wolf and finally the wolf’s patience wears off and the wolf falls down the fireplace to eat the pig.  But Pig is ready with a pot at the bottom of the fireplace and Pig had wolf for dinner that night.        

CRITICAL ANALYSIS

This simple children’s retelling has only four characters, all of which are animals that possess human traits.  The pig’s houses are the setting and this is established early and provides a simplistic and concrete setup.  The story is familiar and provides the reader with a sense of satisfaction as the last pig is successful in “gobbling” up the wolf.  Though the other two pigs, as well as the wolf are eaten, the reader leaves feeling as if the story ended happily.  To encourage forgetfulness in this matter, the words that someone has been eaten are alone at the bottom of the page.  For younger, more sensitive readers, this issue might need to be discussed or the book put on hold until the reader is older.  With the word placement, parents could easily skip these words when reading to early readers.  Readers from across the world can gather the lesson of being wise in one’s decisions but young readers may not see the moral of the story but will enjoy the twisted tale.  Through the first half of the story, it maintains the original story line and repeats lines such as, “Then I’ll huff and I’ll puff and I’ll blow your house in” and “…not by the hair of my chinny chin chin.”  These lines also provide a rhythm and opportunity for children to join in with the reading. 

Just as the plot is simple, Marshall’s illustrations are simple as well with limited detail, clear lines, and basic colors.  Though simple, the pictures are light and whimsical.  The story could be viewed as dark, scary, and criminal, but the illustrations counter this mood.  Western culture is represented.  The style of clothing includes overalls, dress suits, and other typical fashions.  The homes are common builds to our side of the world with the third pig even having the All-American dream house with a white picket fence, shutters, planters, and wind dial.   Marshall’s version of THE THREE LITTLE PIGS begins as the story we remember but takes a turn into a comical journey for the pig and the wolf.

REVIEW EXCERPTS

GoodReads – “Marshall breathes fresh new life into this familiar favorite with funny new dialogue and exuberant cartoonlike illustrations.”

Publisher’s Weekly – “"There are fairy tales, and there are Marshall's tales. Readers can be forgiven for preferring his over all the rest."

Powell’s Books - “When a lean and hungry wolf happens by, however, the not-so-traditional turn of events that follows is sure to delight readers of all ages.”

CONNECTIONS

*Activate prior knowledge by having students tell what they remember from a version of the story that they have heard.

*Read two different versions and compare and contrast the two. 

*Fold paper in half and have students illustrate one event on one side from the first story and the difference in that event from the second story on the other side and share with the class.

*Highlight the third pig not allowing the wolf in the house to teach safety when home alone.

*You could also teach being wise and making wise choices in having safe structures such as a brick home and relate that to having safety and privacy features set up on the internet and facebook.

THE INVENTION OF HUGO CABRET by BRIAN SELZNICK

BIBLIOGRAPHY

Selznick, Brian. 2005. THE INVENTION OF HUGO CABRET. New York: Scholastic Press. ISBN 0439813786

PLOT SUMMARY

In a Paris train station, orphan boy Hugo Cabret, lives and maintains the station’s clocks which were previously kept by his Uncle who goes missing.  Thieving food to eat, Hugo lurks about the station mysteriously.  He has many secrets which remain hidden in his solidarity until an encounter with a toyshop owner begins to unravel his top secret treasures.  A winding adventure ensues.  The toyshop owner confiscates Hugo’s notebook full of familiar and upsetting drawings.  Hugo befriends the toyshop owner’s goddaughter in an effort to get the notebook back.  He needs it because it holds his father’s drawings of an automaton.  The automaton was originally found by Hugo’s father in a museum attic.  One night his father was working to fix the automaton and a fire broke out and killed him.  Hugo later found the automaton and set a mission to fix it just as his father would have done.  The automaton was made of tiny gears and mechanisms and when they were all working, a key could be inserted and the automaton would write out a message.  Hugo completes the automaton and he watches with his new friend, Isabelle, as a drawing appears instead of a message.  The drawing produced a movie image that reminded Hugo of his father.  The two children are shocked when they noticed the picture was signed by Georges Melies, Isabelle’s godfather.  The two new friends set out to uncover Melies’ hidden past and find that he was a filmmaker during the beginning of the film industry but left it when tragedy struck Isabelle’s parents and they were killed.  In the midst of this journey, Hugo’s uncle is found dead and Hugo’s final theft leads officials to his apartment which reveals the absence of his uncle.  Hugo was taken in by Isabelle’s family and the two friends were able to rekindle Melies’ love of films.      

CRITICAL ANALYSIS

Selznick’s fictional portrayal of a desperate young boy is unique and interesting.  A large picture book, over 500 pages, is a well of detailed, yet clear and distinct pencil drawings.  The drawings utilize shading to accentuate important details.  Several photographs are included which are real life photos associated with the nemesis (until the end!) in this book, Georges Melies.  The eye-catching illustrations are used to help move the story along and allow the reader to further process the events taking place.  Selznick’s illustrations are black and white, and the darkness of them sets the mood of the story as being gloomy, depressing, desperate, mysterious, and sad.  The heavy weight of the recycled paper adds to the seriousness of the story.  Though dark and serious, the reader is led through a series of events so exciting that the reader anticipates each new turn and hopes that Hugo’s situation will have a positive outcome. 

REVIEW EXCERPTS

KIRKUS REVIEWS – “The children are drawn together in solving the linked mysteries of the automaton and the identity of the artist, illusionist and pioneer filmmaker, Georges Méliès, long believed dead.”

Starred review in PUBLISHERS WEEKLY – “Here is a true masterpiece—an artful blending of narrative, illustration and cinematic technique, for a story as tantalizing as it is touching.”

CONNECTIONS

*Students can imagine themselves as Hugo Cabret and tell/write what they would do differently and the outcome of their different choice(s).

*When telling the story, the teacher can use the paper bag activity and show artifacts symbolizing Hugo’s interests such as clocks, windup toys, and magic.  Students can participate in a paper bag activity of their own.  They can gather items that represent hobbies that they enjoy and present them to the class. 

*In Art class, the teacher could have students draw a black pencil drawing of themselves or a hobby.  On the back, during the core class, the student could write about the drawing and its connection to the story.  Afterwards, the students could put their pages together and create a class book of black pencil drawings. 

*In Speech/Teen Leadership-type class, students could evaluate the first impressions left by Hugo and Georges.  Class could discuss the inaccuracies of the first impression and the evolution from the poor first impression to reality. 

*If applicable, students could write about a tragedy in their own life and ways/things they use in order to cope.         

KNUFFLE BUNNY by MO WILLEMS

BIBLIOGRAPHY

Willems, Mo. 2004. Knuffle Bunny: a cautionary tale. New York: Hyperion Books for Children. ISBN 0786818700.

PLOT SUMMARY

This story begins with Trixie, a toddler, and her stuffed Knuffle Bunny.  The two tag along with Daddy to the Laundromat.  After a series of events at the Laundromat, the two head home and Trixie becomes inconsolable.  Daddy tries to decipher her fit but it is Mom who realizes that Knuffle Bunny is missing.  Immediately, the family of three race back to the Laundromat where they hunt for the bunny.  Upon discovery, Trixie speaks her first words, “Knuffle Bunny.” 

CRITICAL ANALYSIS

This tenderhearted story, like many picture books, is told primarily through the pictures on each page.  Though text also accompanies the pictures, it could be removed and the reader would still understand the story.  The setting in each picture is a real photograph such as the front steps of their apartment, the park, and the Laundromat.  The characters, laundry items, and speech bubbles are illustrations by Willems drawn into the photographs.  The illustrations are quite linear.  The straight lines are utilized to provide simple and clear characters for the reader.    Each picture is surrounded by a color border that is muted and serious.  The photographs are black and white, but the illustrations include bright colors such as yellow, orange, and sky blue.  The tone of the story can be realized through the pace and face of the characters.  In the beginning, Daddy is shown walking with a cheerful Trixie in front of him.  Daddy is carefree, smiling, and walks around the Laundromat with his hand in his pocket.  On the way home, Daddy’s facial features change to frustration at the suddenly distressed child.  The speed picks up as they realize the stuffed bunny is back at the Laundromat.  Now they are illustrated as running and frantically searching through the washers and dryers.  The story concludes with each character showing pleasure at the finding of Knuffle Bunny.  It is a tale of sweet remembrance as most readers can envision themselves or someone they love in the same situation. 

REVIEW EXCERPTS

KIRKUS REVIEWS – “The natural audience for this offering is a little older than its main character: they will easily identify with Trixie’s grief and at the same time feel superior to her hapless parent—and rejoice wholeheartedly at the happy reunion.”

Starred Review in PUBLISHERS WEEKLY - “Any child who has ever had a favorite toy will identify with the toddler star of this tale.”

CALDECOTT HONOR BOOK (2005) – “This energetic comedy, illustrated with an unconventional combination of sepia-tone photographs and wry cartoon ink sketches, charms both parents and children.”

CONNECTIONS
*Young children: have them draw a picture of something that is meaningful to them.
*Elementary children: draw a picture of something meaningful to them and then write their own tale about losing and finding the object.
*Compare the story with another story about losing a special toy such as, CAPTAIN SKY BLUE, by Richard Egielski. 

THE TALE OF PETER RABBIT by BEATRIX POTTER

BIBLIOGRAPHY

Potter, Beatrix. 1866. THE TALE OF PETER RABBIT. Ill. by David Jorgenson. S. Norwalk, Conn.: ABDO Publishing Company. ISBN 9781599613130

PLOT SUMMARY

This story is a tale about Peter, a naughty rabbit, who goes against his mother’s wishes and picks at Mr. McGregor’s garden.  Despite Mr. McGregor’s attempts to catch him, Peter is able to get away.  Exhausted from his escape, Peter Rabbit went to bed without dinner while his three siblings enjoyed a bread, milk, and blackberries. 

CRITICAL ANALYSIS

Potter’s children’s story has a simple and easy-to-understand plot.  Though the story line is uncomplicated, Potter sets up and introduces the conflict immediately.  Written for young readers, the conflict is age-appropriate and Peter’s efforts are able to get him home safely.  The simple and light pencil drawings portray a gentleness of the story.  The colors and lines are pleasant and their design illustrates sweetness in the midst of the conflict.  Though this story was written almost 150 years ago, the characters, setting, and plot are still relevant and applicable to all ages. 

REVIEW EXCERPTS

GOOD READS – “The quintessential cautionary tale, Peter Rabbit warns naughty children about the grave consequences of misbehaving.”

KIDS BOOK REVIEW – “With Beatrix Potter’s beautiful fluid text, timeless illustrations and mischievous hero – this book is as charming as ever.”

CONNECTIONS

*Have students create a paper puppet of a bunny.

*Compare the story to THE STORY ABOUT PING or other Potter stories such as TALE OF TWO BAD MICE.

Please note that this blog has been created for the purpose of an educational course through Texas Woman's University.