1.BIBLIOGRAPHY
Sendak, Maurice. 1963. WHERE THE WILD THINGS ARE. Ill. by Maurice Sendak. HarperCollins Publishers: ISBN 9780060254926
Sendak, Maurice. 1963. WHERE THE WILD THINGS ARE. Ill. by Maurice Sendak. HarperCollins Publishers: ISBN 9780060254926
2.PLOT SUMMARY
Maurice Sendak’s story focuses on the impulsive and volatile nature of adolescent children, particularly little boys. The main character, Max decides one night to run wild and commit mischief, causing him to be sent to bed without dinner. Max feels both angry and powerless. He releases these powerful emotions through his imagination. The recreation of his room into a forest and an ocean leading to the land “where the wild things are” presents a young boy’s journey to the realization that he needs to be with the ones who love him not encased within his anger.
Maurice Sendak’s story focuses on the impulsive and volatile nature of adolescent children, particularly little boys. The main character, Max decides one night to run wild and commit mischief, causing him to be sent to bed without dinner. Max feels both angry and powerless. He releases these powerful emotions through his imagination. The recreation of his room into a forest and an ocean leading to the land “where the wild things are” presents a young boy’s journey to the realization that he needs to be with the ones who love him not encased within his anger.
3.CRITICAL ANALYSIS
Sendak’s story is simplistic in terminology and form. However, his rapid change in setting coupled with the striking imagery of the wild things creates visions that are almost scary. Max’s response to his mother’s calling him a “WILD THING” in saying that “I’LL EAT YOU UP” raises some eyebrows at the bold capitalized lettering of the words and the implications of eating his mother. The blunt and confident nature of young Max is realistic as it is volatile. Similarly, Sendak repetitively uses negative words, such as “terrible roars,” “terrible teeth,” “terrible eyes,”and “terrible claws” to emphasize the anger projected from Max’s imagination.
The visual illustrations also created by Maurice Sendak provide parallel characterizations to the words. The “wild things” do, indeed, appear wild in their almost pagan-like visions of each“thing” bearing characteristics from various animals. For example, one bears the feet of a duck, scaly legs, a furry body and monkey-like head. These overloaded images dominating each page pairs surprisingly well with the simple, repetitive verbiage.
When first released in 1963, the book received negative reviews and was banned from libraries. However, this is an excellent book for parents, teachers, and librarians to teach children how to cope with anger through a positive outlet, their imagination.
Sendak’s story is simplistic in terminology and form. However, his rapid change in setting coupled with the striking imagery of the wild things creates visions that are almost scary. Max’s response to his mother’s calling him a “WILD THING” in saying that “I’LL EAT YOU UP” raises some eyebrows at the bold capitalized lettering of the words and the implications of eating his mother. The blunt and confident nature of young Max is realistic as it is volatile. Similarly, Sendak repetitively uses negative words, such as “terrible roars,” “terrible teeth,” “terrible eyes,”and “terrible claws” to emphasize the anger projected from Max’s imagination.
The visual illustrations also created by Maurice Sendak provide parallel characterizations to the words. The “wild things” do, indeed, appear wild in their almost pagan-like visions of each“thing” bearing characteristics from various animals. For example, one bears the feet of a duck, scaly legs, a furry body and monkey-like head. These overloaded images dominating each page pairs surprisingly well with the simple, repetitive verbiage.
When first released in 1963, the book received negative reviews and was banned from libraries. However, this is an excellent book for parents, teachers, and librarians to teach children how to cope with anger through a positive outlet, their imagination.
4.REVIEW EXCERPTS
Horn Book Fanfare
Horn Book Fanfare
New York Times Best Illustrated Book
Caldecott Medal
ALA Notable Children’s Book
Reading Rainbow Book
Lewis Carroll Shelf Award
Library of Congress Children’s Books
New York Public Library’s “One Hundred for Reading and Sharing”
Boston Globe-Horn Book Award
5.CONNECTIONS
*Those wishing to discuss positive ways to control or release anger of adolescents should consider using this book in a group or one-on-one reading, a book that encourages using your imagination.
*Gather other books by Maurice Sendak, winner of the Caldecott Award, the Hans Christian Andersen Medal, the Laura Ingalls Wilder Award, the National Medal of Arts, and the Astrid Lindgren Memorial Award; see how he conveys truth, feelings, and imagination through art and repetition.
*Those wishing to discuss positive ways to control or release anger of adolescents should consider using this book in a group or one-on-one reading, a book that encourages using your imagination.
*Gather other books by Maurice Sendak, winner of the Caldecott Award, the Hans Christian Andersen Medal, the Laura Ingalls Wilder Award, the National Medal of Arts, and the Astrid Lindgren Memorial Award; see how he conveys truth, feelings, and imagination through art and repetition.
Viorist, Judith. ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY. ISBN 1416985956
Barrett, Judi. CLOUDY WITH A CHANCE OF MEATBALLS. ISBN 0689306474
THE INVENTION OF HUGO CABRET by Brian Selznick
BIBLIOGRAPHY
Selznick, Brian. 2007. THE INVENTION OF HUGO CABRET. Ill. By Brian Selznick. New York, NY: Scholastic Press. ISBN 0439813786
PLOT SUMMARY
The story is about a young boy named Hugo Cabret, who loses his father in a freak fire at the local museum. Hugo is forced to live with his only relative, a drunken uncle at the train station. When his uncle goes missing, Hugo must fend for himself while maintaining the clocks in the station. As he attempts to finish the job his father began in fixing a wind up man, the automaton, Hugo meets George Melies, a real life cinematographer, one of the original film makers, who is now the owner of a small toy booth in the train station. Hugo’s journey to discover what the automaton will write when he is fixed brings together the history of film and the future of invention
CRITICAL ANALYSIS
In this hybrid version of a children’s novel, Selznick combines the images of a graphic novel in the story structure reminiscent of Charles Dickens. Selznick discusses traumatic events, such as loss, depression, and death. The child’s desperation and feelings of hopelessness is well communicated by the author, and lessons, like doing the right thing and good persevering is a pronounced message in the story. The book, in itself, first appears daunting to a young reader. However, upon perusing the pages one is able to clearly see that half of the book is made up of illustrations done in masterful detail. Selznick brings to life the story and characters through the vivid drawings that capture the experience of the action, and cuts these pencil tracings with old movie stills to make the reader feel as if they are watching a movie inside a book.
The pages literally come to life in visual art, encouraging the reader to flip excitedly through the book. Selznick is a true artist and cameraman. The shots of Hugo running through the train station to the wide shots of the city streets capture the true beauty of movies.
REVIEW EXCERPT(S)
2008 Caldecott Medal
National Book Award Finalist
A New York Times Best Illustrated Book of 2007
A Publishers Weekly Best Book of 2007
2007 Quill Award Winner
2007 Borders Original Voices Finalist
2007 #1 Best Book for Kids from Barnes and Noble
CONNECTIONS
*If you are in a classroom setting or will conduct daily readings to the same group, this is a book that should be read in divided parts.
*The novel is a bit more advanced in emotions and traumatic events that might be better for older children from 8 or 9 years old and older.
Other books for children incorporating history, mystery, and illustrations:
Selznick, Brian. WONDERSTRUCK. ISBN 0545027896
Gantos, Jack. DEAD END IN NORVELT. ISBN 0374379939
WHERE IS TIPPY TOES? by Betsy Lewin
BIBLIOGRAPHY
Lewin, Betsy. 2010. WHERE IS TIPPY TOES? Ill. Betsy Lewin. New York, NY: Antheneum. ISBN 1416938087
PLOT SUMMARY
In this charming picture book, Betsy Lewin captures the tricky cat, whose mischievous ways are so obvious to everyone during the day, but unknown at nighttime. It is a day in the life of a fun-loving, orange cat. His home is the perfect place to romp around getting into trouble or causing messes as he “tippy toed through the blueberry pie.” The belying question is where exactly Tippy Toes goes at night, and in the end, only one little boy actually knows the answer.
CRITICAL ANALYSIS
This lighthearted picture book is filled with colorful pictures and rhymes that are easy to follow for toddlers and those in kindergarten. Lewin’s creative rhymes and creative dye cuts make each turn of the page that much more entertaining for all children and the pages are sturdy enough for even the most energetic reader.
Each page provides a handful of words that are dominated by the large illustrations in bright watercolors of the orange cat and his exploits. The dye cuts are strategically placed where pages hide the kitty from sight until the page is turned.
It is a perfect book for any night time read with a young child.
REVIEW EXCERPT(S)
CBCA Book of the Year Award 2011
Readers fascinated by the lives of their pets should welcome this tender offering. - PUBLISHERS WEEKLY, July 5, 2010
CONNECTIONS
*It is a book for everyone, especially for young children ranging from toddlers to Kindergarten.
*Perfect story for every bedtime or to play peekaboo.
Other books with catchy rhymes and fun pages:
Laden, Nina. PEEK-A WHO? ISBN 0811826023
Campbell, Rod. DEAR ZOO: LIFT-THE-FLAP BOOK. ISBN 9781416947370
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