Asian Pacific Literature - Module Five

Bibliography

Lin, Grace. 2006. The Year of the Dog. 2006. New York: Little Brown. ISBN 9780316060004

Plot Summary

Grace (Pacy, to her family & friend Melody) tries to find herself and determine what she wants to be when she grows up during the New Year of luck, the “Year of the Dog”. Being of Taiwanese-American heritage, Pacy is thrilled when Melody, also Taiwanese-American becomes a student at her school. They become the best of friends and together they endure life at school where many do not understand that even a Taiwanese-American girl could play the part of Dorothy in the Wizard of Oz if given the chance. Although this dream does not come true for Pacy, she does become a winner in a prestigious writing contest which helps her to decide she should write books when she grows up.

Critical Analysis
Grace Lin uses the “story within the story” approach to share the life of Pacy, her parents, and two sisters. Embedded throughout the main story are shorter stories shared mainly by Pacy’s mother that help her to understand her Taiwanese heritage. Cultural markers are evident as the family participates in traditional celebrations like the “Red Egg” party for the birth of cousin Albert, when everyone in the family joins together in traditional clothing to shower the newborn child with red envelopes filled with money. Chinese New Year brings a plethora of food choices for Pacy’s family that are very traditional including: roasted duck with the head still on, fried rice with pink shrimp, jade green cabbage, brown dumplings, and seaweed, and a not so traditional item appears on the New Year tray: M & M’s.

The child-like illustrations almost give the book a look of a diary or journal belonging to the main character. The pencil drawings reflect the current happenings and add a bit of humor and whimsy to the book.

Review Excerpts

“For Taiwanese-American Pacy, sorting out her ethnic identity is important, and she wonders what she should be when she grows up. Writing and illustrating a book for a national contest makes her think that perhaps she can become an author of a "real Chinese person book." Lin offers both authentic Taiwanese-American and universal childhood experiences, told from a genuine child perspective.” Horn Book starred review

“A lighthearted coming-of-age novel with a cultural twist. Readers follow Grace, an American girl of Taiwanese heritage, through the course of one year-The Year of the Dog-as she struggles to integrate her two cultures. Throughout the story, her parents share their own experiences that parallel events in her life. These stories serve a dual purpose; they draw attention to Grace's cultural background and allow her to make informed decisions. She and her two sisters are the only Taiwanese-American children at school until Melody arrives. The girls become friends and their common backgrounds illuminate further differences between the American and Taiwanese cultures. At the end of the year, the protagonist has grown substantially. Small, captioned, childlike black-and-white drawings are dotted throughout. This is an enjoyable chapter book with easily identifiable characters.” School Library Journal

Connections

Young readers will also enjoy these novels by Grace Lin:

Lin, Grace. The Year of the Rat. Little Brown. ISBN 9780316033619
Lin, Grace. Where the Mountain Meets the Moon. ISBN 9780316114271

Asian Pacific Literature - Module Five

Bibliography

Say, Allen. 1993. Grandfather’s Journey. New York: Houghton Mifflin. ISBN 9780395570357

Plot Summary

Japanese-American author Allen Say tells of his grandfather’s journey to America and his return to Japan. His grandfather experienced feelings of homesickness for his “other” country no matter where he was residing. Later, Say has the same feelings as he leaves his home in Japan to journey to California. To satisfy his longing for home, he returns to Japan to see the mountains and rivers. It is then that he feels he truly knows his grandfather.

Critical Analysis

In Say’s Caldecott Award winning book, the insider perspective provides the reader with authentic representation of the Japanese culture through realistic illustrations rather than text. The character’s facial features, skin tones, and hairstyles each help to define their cultural identity. In addition, the architecture, landscape, and clothing styles (kimonos) that are shown when grandfather returns to Japan are culturally authentic. This story of journeying to a new world and longing for home is beautifully captured through watercolors illustrations reminiscent of a family photo album covering three generations. A beautiful story of the internal struggle and yearning “to belong”.

Awards
Caldecott – 1994

Review Excerpts

“Say's grandfather travels throughout North America as a young man but, unable to forget his homeland, returns to Japan with his family, where the author is born. Say now lives in California and returns to his native land from time to time. "The funny thing is, the moment I am in one country, I am homesick for the other. I think I know my grandfather now." The immigrant experience has rarely been so poignantly evoked as it is in this direct, lyrical narrative, accompanied by soft-toned watercolors.” Horn Book starred review

“A personal history of three generations of the author's family that points out the emotions that are common to the immigrant experience. Splendid, photoreal watercolors have the look of formal family portraits or candid snapshots, all set against idyllic landscapes in Japan and in the U.S.” School Library Journal

Connections
Young readers and others selecting books for reading aloud might consider other books by Allen Say including:

Say, Allen. Kamishibai Man. ISBN978-0618479542
Say, Allen. Tea with Milk. ISBN9780547237473
Say, Allen. Tree of Cranes. ISBN978-0547248301

Asian Pacific Literature - Module Five

Bibliography
Choi, Yangsook.2006. Behind the Mask. New York: Farrar, Strauss and Giroux. ISBN 9780374305222

Plot Summary

Halloween is fast approaching and Korean American Kimin isn’t sure what costume he will wear for the celebration. After encouragement from his mother, Kimin explores the boxes of family treasures that once belonged to his grandfather. Upon opening the boxes a flood of memories overcome Kimin as he recalls seeing his grandfather for the last time and how he was frightened by his gruesome face. After exploring the contents of the boxes, Kimin learns that his grandfather was a famous mask dancer. Kimin decides to dress as his grandfather for Halloween since it is also a time to honor the dead. The children who are trick-or-treating are amazed by his costume and dancing skills, but when Kimin trips on his robe and scratches the mask, the fun ends. After returning home, his mother is pleased that he has worn his grandfather’s costume and Kimin’s friends visit to bring him an important paper that fell from his mask. The note, written to Kimin in Korean, is from his grandfather who wishes him to have the mask and know that his spirit will always be with him.

Critical Analysis

Choi gives readers the inside perspective as details of the Korean culture are shown through the illustrations depicting the masks, or Tal, worn by the dancers. The scene from Kimin’s memory of seeing his grandfather in Korea also shows traditional clothing and furnishings such as the rice paper door and writing on the paneled screen. The end papers of the book include a variety of masks expressing different emotions.

The author’s note providing information on the Talchum, or mask dance help the reader to understand more about the traditional Korean folk dance.

Review Excerpts

“Korean theater traditions meet American Halloween customs in Choi’s satisfying tale. When Kimin gets ready to choose a trick-or-treat costume, his mother brings him two red boxes from his late grandfather, "a famous dancer in Korea." Kimin feels ambivalent because his grandfather once startled him with a white-eyebrowed, white-bearded face. But inside the boxes, he finds family photos and the "gruesome" face-a stylized performance mask. This discovery transforms Kimin's negative memory and becomes a perfect Halloween outfit, although it gets a little scuffed. Choi's text-and-image layouts and cross-generational subject matter recall Allen Say's work on heritage.” Publisher’s Weekly

“On Halloween, Kimin sneaks out of the house wearing his grandfather's Korean dancing costume and tal (mask). When he falls and scratches the mask, he worries about his mother's reaction. The story realistically reflects Kimin's fears and struggles. The muted autumnal illustrations move seamlessly between depictions of traditional Korean culture and those of modern-day America, invoking both solemnity and humor.” Horn Book

Connections
Young readers and others selecting books for reading aloud might consider other books by Yangsook Choi including:

Choi, Yangsook. The Name Jar. ISBN978-0440417996
Choi, Yangsook. New Cat. ISBN0374355126
Choi, Yangsook. Peach Heaven. ISBN978-0374357610

Native American Literature - Module Four

Bibliography

Retold by Bruchac, Joseph. 1993.The First Strawberries: A Cherokee Story. Ill. by Anna Vojtech. New York: Dial Books for Young Readers. ISBN 0803713312.

Plot Summary

When the world was new, man and woman were made at the same time so they would not be lonely. After marrying each other, they lived together happily until the man came home from hunting one day to find his wife gathering flowers instead of preparing their meal. The man became angry and asked if he was supposed to eat flowers. This made the woman angry because she had picked the flowers to share with her husband. Since he hurt her feelings with his angry words, she decided she would no longer live with him and she set out walking through the plain. Her husband tried to catch up with her but he was unable to match her quick steps. His voice calling her name went unanswered because she could not hear him. Unable to catch up with his wife to apologize, the husband finds help in the form of the sun who tries to distract the woman by having berries grow instantly near her feet as beams of sunlight shine down. Her anger dwells inside and she walks past the raspberries, blueberries, and even the blackberries. The sun tries one last time to slow the woman's stride as it shines the strongest beam of light right in front of her feet to make strawberries appear. Glowing like fire, the woman cannot resist and she stops to pick one to eat. The sweetness reminds her of her husband and his love so she gathers the strawberries to share with him only to find him standing behind her asking for forgiveness. Together they eat the sweet strawberries that symbolize the need for kindness and respect for one another. According to the Cherokee, this is how strawberries came into the world.

Critical Analysis

The author's note mentions the origin of this story being found in James Mooney's Myths of the Cherokee, published in 1900. Bruchac, who is of Abenaki heritage, first heard the story from Mary and Goingback Chiltoskey, Cherokee elders from North Carolina. The story is simple and clearly written with no indications that it would be a story specific to the Cherokee culture other than the source notes from the author, and the title. It does reveal closeness to the Earth and nature.The soft watercolor illustrations present few motifs specific to that of the Cherokee culture. Noticeable motifs include the clay pottery, basket shapes, and the rectangular mud hut dwelling. Other than these motifs, the other illustrations could be included in many books about Native Americans. The skin tones, hairstyles, buckskin clothing, and moccasins seem to reflect a monoculture, which does not exist. It would be nice to see more specific details in the illustrations that reflect the Cherokee culture since the origins of this story are from that culture.


Review Excerpts

“This legend explains the origins of strawberries, grown by the sun to help the first man and woman patch a quarrel. ‘Spare text, an uncomplicated story line and gentle illustrations keep this quiet but resonant tale accessible to even the youngest child.’ ” Publisher’s Weekly

“A gentle story of the Sun's healing of marital discord by a gift of ripe strawberries that magically grow at the feet of an angry woman as she flees her husband's harsh words, thus halting her departure long enough for him to catch up and make amends. Thereafter, the story concludes, whenever the Cherokee eat strawberries, they are reminded to be kind to one another. Quietly luminous watercolors capture details of dress, dwelling, implements, flora, and fauna against an open landscape of rolling hills. Small touches dramatize the story's moods: a bouquet of brown-eyed Susans flung to the ground in anger; an empty nest in a pine tree as the woman disappears behind the western hills; the glimmer of a single firefly as man and wife are reconciled. Complete harmony of text and pictures: altogether lovely.” Kirkus Review

Connections

Other Native American stories to enjoy by Joseph Bruchac include:

Bruchac, Joseph. The Earth Under Sky Bear’s Feet. Ill. Thomas Locker. ISBN 9780140564099
Bruchac, Joseph. Between Earth & Sky: Legends of Native American Sacred Places. Ill. Thomas Locker. ISBN 9780152020620
Bruchac, Joseph and James Bruchac. How Chipmunk Got His Stripes. Ill. Jose Aruego & Ariane Dewey. ISBN 9780142500217

Native American Literature - Module Four

Bibliography

Retold by Ross, Gayle. 1995. How Turtle's Back Was Cracked: A Traditional Cherokee Tale. Ill. Murv Jacob. New York: Dial Books for Young Readers. ISBN 0803717288

Plot Summary

Possum and turtle are best friends. Each day they share their love of persimmons by eating them together. Possum climbs the persimmon tree and hangs by his tail. He swings out on the limb, grabs a juicy persimmon and tosses it down into the waiting mouth of turtle, who is standing on his hind legs with his eyes closed and his mouth wide open. The next persimmon is enjoyed by possum, and then the routine continues. One day a wolf happens to watch the twosome’s game of eating and decides he will get an easy snack. When possum realizes the wolf is taking turtle’s persimmon, he gets angry and throws the biggest persimmon he can find down wolf’s mouth. This causes wolf to choke and die. Turtle finally opens his eyes after waiting so long for a persimmon and finds a dead wolf next to him. He quickly claims the death of the wolf for himself and proceeds to brag about his bravery. He cuts of the wolf’s ears, makes wolf-ear spoons and takes out to visit everyone he knows. Word of his boasting gets back to the wolf pack and they decide the turtle must die. After capturing the turtle, the wolves plan to cook him in a pot of boiling water, but the turtle cleverly talks the wolves into throwing him in the river, a much worse death. However, turtle’s escape plan of swimming away in the river is marred as he crashes into a rock on his way into the water. Even to this day, we still see the lines where cracks appeared on turtle’s back caused by the fall into the river.

Critical Analysis

Author, Gayle Ross, a direct descendent of John Ross, Principal Chief of the Cherokee Nation during the "Trail of Tears", shares that the source of this variant is found in James Moody's Myths of the Cherokee, published in 1900 by the Bureau of American Ethnology. Source notes in the book on the Cherokee Nation state that their clan was one of a strong hunter-warrior tradition. This hunter motif is displayed through the actions and illustrations of the turtle in the story, as turtle quickly claims the death of the wolf for himself and cuts off the wolf's ears as a customary tribute to the capture of the animal's spirit. After making wolf-ear spoons, turtle begins to visit everyone and enjoy the traditional corn soup which, as part of the Cherokee custom, is reserved for visitors. The taste of the soup is made only sweeter by the use of his wolf-ear spoons.Murv Jacob is of Kentucky Cherokee and European heritage and resides in Tahlequah, Oklahoma, the home of The Cherokee Nation. Jacob uses acrylics on watercolor paper to produce the brightly colored patterned drawings incorporating Cherokee motifs in the page borders, fringed belts, buckskin clothing, and pottery that is authentic to the Cherokee culture.

Review Excerpts

“Gathering persimmons together, friends Possum and Turtle are joined by a thieving wolf who chokes to death on their fruit. Turtle, foolishly believing that he has killed the wolf, shows off the deed by making wolf-ear spoons and eating with them publicly. When the other wolves catch Turtle, they vow to kill him by roasting, boiling, or drowning him. He responds with, "Oh, no, not the river! Anything but the river." When they throw him in, he lands upside down on a rock, cracking his shell. He survives, but that's why the Turtle has cracks on his back today. Despite its echoes of the more familiar Brer Rabbit story ("born and bred in the briar patch"), this Cherokee pourquoi tale has a flavor all its own. Ross notes that she remembers the tale from her childhood, found a written source, and developed it through storytelling to its present form. Jacob's distinctive acrylic paintings illustrate the story's dramatic moments in scenes rich in colors and patterns. An entertaining picture book to read aloud.” Booklist

“Wolves capture Turtle, planning to punish him for bragging. He convinces the indecisive wolves that the worst punishment would be to throw him in the river; thus turtle escapes, but not without permanent damage to his beautiful shell, which cracks on a rock. The earth-toned palette complements the Cherokee pourquoi tale. Source documentation and a note about the Cherokee Nation are included.” Horn Book-Starred Review

Connections

Young readers and others selecting books following traditional Native American tales might consider these books:

Bruchac, Joseph. Turtle's Race with Beaver : A Traditional Seneca Story. Ill. Jose Aruego & Ariane Dewey. ISBN 9780803728523
Ross, Gayle. How Rabbit Tricked Otter and Other Cherokee Trickster Stories. Ill. Murv Jacob. ISBN 9780060212858
Begay, Shonto. Máii and Cousin Horned Toad: A Traditional Navajo Story. ISBN9780590453912

Native American Literature - Module Four

Bibliography

Smith, Cynthia Leitich. 2000. Jingle Dancer. Ill. by Cornelius Van Wright and Ying-Hwa Hu. New York: Morrow Junior Books. ISBN 0688162428.

Plot Summary

Young Jenna dreams of the day she will jingle dance at powwow just like her Grandma Wolfe. But Jenna has a problem. She does not have jingles for her dress and she must have four rows in order for her dress to sing at the upcoming powwow. Jenna sets out to visit four women in her life to ask to borrow enough jingles to complete a row on her dress. Each woman gladly loans Jenna the jingles and asks that she dance in the powwow for them. After collecting enough jingles to make four rows on her dress, she and Grandma Wolfe carefully stitch the jingles in place so the dress may sing. At powwow, Jenna danced for all the women who helped her make her dream come true.

Critical Analysis

Smith gives the “insider” perspective as she tells the contemporary story of young Jenna and her desire to jingle dance. Jenna borrows only enough jingles from the women in her life so as not to have their dresses “lose their voice”. She carefully practices her “bounce steps” while watching her Grandma Wolfe on video tape as her heart beats “brum, brum, brum” to the powwow drum, and she breathes every “hey-ah-ho-o of a powwow song.”
The author’s note and glossary provide some historical background on the Muscogee Creek and Ojibway, including the fact that the Ojibway women were credited as being the first jingle dancers. A detailed description of how the jingles are made and the significance of the regalia worn during powwow lead readers to a greater understanding of the authenticity depicted through the story of Jenna and her need for four rows of jingles. Due to the symbolic nature of the number four, Smith uses it throughout the story as Jenna visits four women, and collects jingles for four rows for her dress.
The watercolor illustrations in the book nicely portray the contemporary and traditional lives of Jenna, her Grandma Wolfe, Aunt Sis, Mrs. Scott, and cousin, Elizabeth. The contemporary lifestyle is shown through the environmental surroundings of each home which are very modern, as well as the clothing worn by each character. The traditional aspect is shown through the artistic rendition of the jingle dresses with attention to detail such as the shape of the bells and solid fabric color choices which reflect that of the culture. The hairstyles of the jingle dancers also reflect authentic traditional styles as do the conch belts, scarves, boots, beaded moccasins, and hand-held feathers.

Review Excerpts

“This contemporary Native American tale highlights the importance of family and community through a young girl's dream of joining the dancers at the next powwow. Jenna is a girl of Muscogee (Creek) and Ojibway (Chippewa/Anishinabe) descent. She has practiced the steps for the jingle dance by following her grandmother's moves on a video. Now she must get enough jingles (traditionally made of tin, aluminum, or gold canning lids rolled into cones) to sew on her dress to make a satisfying "tink, tink" as she dances. The way Jenna gathers her jingles (borrowing enough to make a row, but not so many that the lender's dress will "lose its voice"), and her promise to dance for the women who cannot dance for themselves illustrate the importance of family and community ties. The colorful, well-executed watercolor illustrations lend warmth to the story. A note explaining Jenna's heritage and a brief glossary are appended.” Booklist

“Jenna, a young Native American of Muscogee and Ojibway heritage, longs to dance the jingle dance at a powwow. This dance, in which females dance with jingling cones on their dresses, is authentically depicted by Smith, who is herself a member of the Muscogee Nation. Jenna repeatedly watches her Grandma Wolfe dancing on a VCR tape and wishes for a dress full of the jingling cones. Unfortunately, there is no time to order the tin to be rolled into jingles before the powwow. Jenna needs four rows of jingles for her dress, so she borrows jingles from other female family members and friends, taking only one row from each woman because she doesn't want their dresses to "lose their voices." Cornelius Van Wright and Ying-Hwa Hu provide warm watercolor illustrations. This book would be a welcome addition to any elementary library.” Library Talk

Connections

Other books available for an author study of Cynthia Leitich Smith include:

Smith, Cynthia Leitich. Rain is Not My Name. ISBN 9780688173975
Smith, Cynthia Leitich. Indian Shoes. ISBN 9780060295318

Bibliography

Mora, Pat. 2005. Doña Flor: A Tall Tale About a Giant Woman with a Great Big Heart. Ill. by Raul Colón. New York: Alfred A. Knopf. ISBN 0375923373

Plot Summary

Dona Flor is a large woman with a kind heart. As a child her mother sang to her which caused her to grow beyond measure. Now she too has the same magical powers to make things grow large like the plants and flowers that surround her adobe. Her size enables her to hug the wind, sleep on a bed of clouds, and cradle the villagers and animals in her arms. Even her hand-made tortillas serve as rooftops and pond floats for the villagers. She speaks the languages of all people and animals which is very helpful when she tries to find the big "gato" that has frightened everyone with it's load roar. Terrified that the puma will attack their pueblo, the villagers rely on Dona Flor to protect them. It is only when she solves the mystery of the "gato" that the villagers can live in peace.

Critical Analysis

Pat Mora brings her insider perspective to the tale of Dona Flor, one that is rich in supportive relationships, care, and friendship much like that of the Hispanic American culture. The sprinkling of Spanish terms, in the ethnocentric manner, lends a hint of Hispanic flair to the tale without overloading it for the non-Spanish readers who have no glossary or translation to consult. It is this interlingual text that sets this tale aside from being a generalized tale for any culture.

Paul Colon's Pura Belpre Award winning illustrations, in the muralist fashion, include cultural markers that link it to the Hispanic culture. Readers will notice the skin color of Dona Flor and her hair color, as well as that of her neighbors. Beyond the physical appearance of Dona Flor, Colon creates the loving character that shows care and concern for others as she cradles the animals in her arms, takes children to school riding on her back, and reads books to the villagers outside the library. Attention to detail in the architecture of the buildings accurately reflects that of a pueblo in the southwest desert area.

Awards
Pura Belpre Award-Illustrations - 2006

Review Excerpts

“A charming tall tale set in the American Southwest. Dona Flor, a giant, is a benevolent presence in her pueblo. While at first kids teased the young and large Flor, she quickly became an asset to them, whisking them off to school when they were running late or making tortillas big enough to be used as rafts on the river. The action starts when a puma is heard howling in the vicinity; the villagers are terrified and even Dona Flor can't find it. The animals know where the gato is so she follows their advice and the situation is delightfully resolved. Colon uses his signature mix of watercolor washes, etching, and litho pencils for the art. There is great texture and movement on each page in the sun-baked tones of the landscape. With Spanish words peppered throughout, this is a welcome entry to the canon that includes other heroines like Sally Ann Thunder and Thunder Rose.” School Library Journal

“Most tall tales were written long ago and featured men as main characters. This book is an excellent exception. The author and illustrator who created Tomas and the Library Lady (Knopf, 1997) have produced an easy-to-read story about a giant named Dona Flor. Her size is attributed to her mama's singing that made the corn grow as tall as trees and caused her daughter to grow and grow and grow. While Dona was teased when she was young because of her size, her willingness to help others soon turned her tormentors to fans. Her strong work ethic helps her build her own house and provide for all the animals and birds that come to her. Dona's selfless nature leads her to make tortillas every day to feed her many neighbors. When a mountain lion threatens the valley, Dona once again tames the beast and saves her people. The watercolor, etching, and pencil drawings complete a nice presentation of a new tall tale.” Library Media Connection


Connections
Readers might also consider these books by Pat Mora when conducting an author study:

Mora, Pat. The Rainbow Tulip. Ill. by Elizabeth Sayles. ISBN 978-0142500095
Mora, Pat. Tomas and the Library Lady. Ill.by Raul Colón. ISBN 978-0375803499
Mora, Pat. Birthday Basket for Tia .Ill. by Cecily Lang. ISBN 978-0689813283

Hispanic American Literature - Module Three

Bibliography

Alvarez, Julia. 2001. How Tía Lola Came to Stay. New York: Alfred A. Knopf. ISBN 0375902155

Plot Summary

After moving to Vermont from New York after his parent’s divorce, Miguel is finding hard to fit in at school. While the kids ask if he is Indian, or just very tan, he isn’t sure how to answer them. He’s still finding it frustrating that they’ve nicknamed him Gooseman and quack at him, because they are unable to pronounce his last name, Guzmán. Now to add to his stress, his Aunt Lola is coming for a visit. Tía Lola is from the Dominican Republic and doesn’t speak any English. She wears brightly colored clothes, red lipstick and her black hair stacked on top of her head. All Miguel wants to do is hide her from everyone. It is Tía Lola who helps to turn life around for Miguel as she helps to form a baseball team in his own backyard. Tía Lola’s friendly personality, stories, and magic potions work their way into the hearts of everyone in the little Vermont town which prompts her to turn her visit into a stay.

Critical Analysis

Alvarez does a wonderful job naturally filling this book with cultural markers reflecting the Hispanic American culture. Miguel encounters many problems as he moves from his only home of New York City to the farm lands of Vermont where he is questioned about his skin color, and teased about his name. He refuses to learn Spanish or have anything to do with his Hispanic American heritage. While speaking to his father, Miguel expresses his frustration with being teased at school and having Tia Lola there for such a long visit. His father assures him that even though the kids at school think he is different and they can’t pronounce his name, he will endure the rough times and “you will grow into that pride the older you get”. This pride is that of his cultural heritage. Tia Lola spreads her heavy Dominican Republic accent around town in an almost comical way and everyone becomes enchanted with her. Each phrase she speaks is translated within the text so readers can fully understand the advancing story. As Tia Lola tries to learn English so she can stay in the country and be of help to her family, Miguel begins to learn Spanish. He often speaks in Spanglish to Tia Lola, English with a sprinkling of Spanish which is commonly practiced in the Hispanic American culture. Also noted is Tia Lola’s religious practice. She is a Santera and believes her food brings magical powers.

When Tia Lola takes the family to visit the relatives in the Dominican Republic, they are not sure how to act as their customs are very different. This story beautifully translates the messages of acceptance, diversity and tolerance.

Review Excerpts

“Young Juanita and Miguel's mother is in the process of divorcing her husband. She takes a new job and moves herself and the children from New York City, where they had many friends and were part of the Hispanic community, to Vermont. To Miguel, Vermont is an alien place-his brown skin sticks out among all the white faces. He has difficulty making friends and doesn't fit in. Then the children's aunt, Tia Lola, who used to take care of their mother, arrives from the Dominican Republic. She's charismatic and dresses flamboyantly, and even though she speaks very little English (a source of humor in the story); she becomes friends with people in the town. Tia Lola works her magic and Miguel learns not to be embarrassed by his colorful aunt. She helps him become part of his new community, and his self-confidence increases. This book succeeds in teaching readers to be more understanding of differences in others, and does so without preaching.” Library Talk

“When Miguel's Spanish-speaking Dominican aunt comes to visit his newly divorced mother in their new home in Vermont, her colorful ways at first embarrass him, then eventually endear her to him. What the story lacks in a clear central conflict, it makes up for with vivid characterization and evocative imagery. Dominican Spanish words flavor the narrative like so many of Tía Lola's spices.” Horn Book


Connections

Readers might also consider these books about family relationships.

Garza, Carmen Lomas. In My Family/En Mi Familia. ISBN 978-0892391387
Hays, Joe. Watch Out for Clever Women. Ill.by Vicki Trego Hill. ISBN 978-0938317203
Ryan, Pam Munoz. Esperanza Rising. ISBN 978-0439120425

Hispanic American Literature - Module Three

Bibliography

Soto, Gary. 1994. The Skirt. Ill. by Eric Velasquez. New York: Yearling. ISBN 0440409241

Plot Summary

Fourth grader, Miata Ramirez is excited to tell her father, José that she made an “A” on her spelling at school on Friday, but it is what happened on the way home from school that is much more interesting. It seems that Miata left a very special piece of clothing on the school bus; the skirt she is to wear to church on Sunday as she joins her dance troupe to dance folklórico. If only Miata weren’t so forgetful. Her mother was always scolding her for losing things but this loss could be the greatest. This isn’t just any skirt. It is the skirt that belonged to Miata’s mother when she was a little girl in Hermosillo, Mexico. Miata recruits her best friend, Ana as she develops a plan to save herself and her family from embarrassment on Sunday. Together they sneak into the locked school yard and break into the bus to retrieve Miata’s skirt. To their surprise Miata’s father was asked to repair one of the buses. The girls quickly break away from the school yard in time to hang the skirt on the clothesline for some fresh air. On Sunday morning Miata’s mother surprises her with a new skirt. Miata feels sorry for her mother’s old worn skirt and returns the surprise by wearing it underneath her new skirt as she dances.


Critical Analysis

Strong family bonds are evident in this book by Gary Soto. With the natural use of Spanish language sprinkled throughout the book, the story advances while adding cultural authenticity. No glossary is given, nor are the words or phrases translated within the text to slow native speakers down. Non-native speakers are able to use context clues to determine the meaning of these words and phrases.

Miata uses kinship terms often found in the culture when she speaks to her father, “Papi.” In turn, her father addresses her as “Mi’ja” thus showing the emotional closeness between Latino family members.

As the family gathers for a meal of “steak, frijoles, and papas fritas”, they discuss the upcoming celebration and their excitement for Miata as she prepares to dance folklórico at the family’s church on Sunday. This cultural marker is one of celebration with the traditional Mexican folk dances.

Velasquez uses pencil drawings to illustrate the book depicting a few cultural markers such as the Aztec painting in the family’s dining room, the traditional folklórico skirt, and the folklórico dance celebration.

Review Excerpts

“Described by PW as a ``spunky and imaginative'' heroine, Miata comes up with a clever plan to retrieve her beloved folklórico dance skirt.” Publishers Weekly

“In this cheery snapshot of a Mexican-American family in California, Miata attempts to retrieve from her schoolbus the folklórico skirt she left behind. There is just enough suspense in the spare story line to hold the attention of readers new to chapter books.” Horn Book starred

Connections

Readers might also consider other books by Gary Soto for an author study. Some of his books are shown below:

Soto, Gary. Baseball in April and Other Stories. ISBN 0152025677
Soto, Gary. Taking Sides. ISBN 0152840761
Soto, Gary. Buried Onions. ISBN 978-0152062651