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and that's the end of part 1. tonight, while you're waiting to fall asleep, you
may find Little Red lifting the latch of your dreams. all the better to
be continued
HM 2015 (c)
The Diamond Miners are in the midst of comparing points of view in different versions of well-known folktales--you can guess which one this week. We read slowly, we stop and start, stop and restart, check for comprehension ("BING!"), break the story into Part 1, Part 2, Part 3. I'm finding that at the accomplished age of seven children are susceptible to relying on what they already know and are prone to "unhearing" new information. That's why Lon Po Po has been so gripping--familiar but different, and what's a gingko nut?
From an Education Week article on how we pose our questions to support deep interpretation: "teachers often read through a chapter or text selection completely before starting a discussion....As part of the training course, they are learning to plan stopping points where the text is ambiguous and launch questions that get students thinking about what is going on. "We want to teach kids to not just start at the beginning and read all the way through," Matsumura said. "A good reader is thinking about what they are reading as they are going through."" Well, duh.
But my goal is "never a duh moment." I can't assume that even the high flyers in my class are coordinating all the moving parts that deep comprehension depends upon. We teachers and writers do it easily, but precisely BECAUSE we are skilled and effective literacy practitioners, it can be hard for us to slow down enough to elucidate this "behind the scenes" thinking we are doing as we read.
So, again, there is no way I can get through 6-8 titles in a week, and the ones we do spend precious time with better be really good. So thanks, Trina Schart Hyman, for Little Red Riding Hood, and thanks, Ed Young for Lon Po Po, and thanks Wilhelmina Harper for The Gunniwolf....you make us want to work hard to be deeper readers.
The roundup today is with Laura at her spiffy new-look blog at Writing the World for Kids--go lift the latch on her door and see what hiding inside! The
0 Comments on leave 'em hanging as of 10/9/2015 7:31:00 AM
We recently received two issues of Storytime Magazine (Luma Works), a monthly British children’s magazine which launched in September 2014 with the tagline “Classic tales to read, love and share.” Each issue is filled with retellings of fairy tales and folktales, plus distillations of classic children’s novels (such as E. Nesbit’s “Five Children and It” in Issue 4 and Rudyard Kipling’s “The Jungle Book” in Issue 5). The stories are accompanied by colorful, often full-page illustrations as well as interactive moments inviting the reader to color a rainbow, count beans, find a specific flower, etc. Even more thematic activities and downloads are available at Storytime‘s website.
The contents are organized by headings such as “Favourite Fairy Tales,” “Famous Fables,” “Storyteller’s Corner,” “Around the World Tales,” “Myths and Legends,” “Poems and Rhymes,” “Brilliant Books,” “Storytime Playbox,” and “Story Magic.” These categories seem to shift slightly from issue to issue, but each edition follows the same basic format, containing about six stories, a poem, and thematic activities and games.
Storytime‘s retold short tales originate in a range of diverse cultures: Issue 4 features a Mayan quest story, an African tale about trickster Anansi, and a Cornish mermaid tale; Issue 5 includes an Aboriginal creation story, plus Greek mythology and an Aesop animal parable. The magazine format (complete with exciting cover blurbs: “Famous Fables! Four animals learn about friendship” and “Jungle Adventure! See how Mowgli escapes from Shere Khan”) gives the tales a fresh perspective, and the absence of advertisements keeps the focus on the stories themselves.
Overall, each issue feels like substantial reading material — either to be devoured straight through all at once, or savored slowly, story by story.
These last few days, fellow Teaching Authors Mary Ann, April, JoAnn, Esther and wonderful new TA Carla have discussed the blending of fiction and nonfiction. In the end, as I noted in my post, I offered that we are story animals, as Kendall Haven (Story Proof: The Science Behind the Startling Power of Story, 2007) suggests. We have told our stories for over 100,000 years. Not every culture has developed codified laws or written language, but every culture in the history of the world has created myths, legends, fables, and folk tales.
Stories are so old, so intimately connected with language, some researchers suggest that language was created to express stories. Researchers have found that telling stories at an early age helps develop math abilities and language literacy. And teachers know that understanding the story process helps young readers understand the organization of language.
A simple definition of a folktale would be that it is a traditional story, usually dressed in metaphor and symbol, told by a people—of a particular community, group, or nation—to help explain how and why things happen, how one meets the challenges of life, or how one might become a better, or wiser, person. But such a simple definition negates a bigger truth embedded in these tales.
Traditional tales are like icebergs; we see only the tip. Jung would call this tip the “personal unconscious,” the aspect of story derived from personal experience and acquisition. But the greater meaning of the tale lies beneath this surface of consciousness. Carl Jung calls this deeper layer the collective unconscious, an inherited “psychic system of a collective, universal, and impersonal nature which is defined in all individuals.” (Man and His Symbols, 1968).
As Rafe Martin tells us, traditional tales belong to the world of the imagined, to the portals of dreams. “They are the eternal literature of humanity.”
Remember the child’s game, “Telephone”? Everyone sits in a circle, and then the teacher whispers a joke or a story to the student next to her. That student whispers the same story to the one sitting next to her. That student whispers the same story to the one next to her until the story makes its way around the circle. The last student recites the story to the group. Of course, with each retelling, the child puts her own spin on the tale, sometimes reordering the events, recasting it in personal symbols, and reinventing characters as she understands them. That’s the folklore process in action. Someone tells a story. That story is told and retold, and with every telling, the story changes as the teller makes it her own. Despite the many changes the story underwent, there remains intact certain kernels of emotional truth. An old Ibo (Africa) proverb states, “all stories are true.” Not necessarily factual, but certainly true to what it means to be human.
Europeans left behind their own ancient histories to seek a new life in an unknown land. Upon arrival, they found that they needed to redefine themselves as a people. If the new land was a sanctuary in which they could pursue “life, liberty, and prosperity,” it also proved an overwhelmingly strange and alien place. These new immigrants dealt with their insecurities when faced with forces greater than themselves by overwhelming these forces through the “magnification” of the self, epitomized in the unrestrained exploits of Davy Crockett, Paul Bunyan, Pecos Bill, and many others.
From the beginnings of the westward movement, the near incomprehensible vastness of the landscape, the extraordinary fertility of the land, and the variety of natural “peculiarities” inspired a humor of extravagance and exaggeration. The immigrant’s need to affirm the value of a culture independent of European refinements, constraints, and mores created a humor that became exclusive. The immigrants purged their terror of the overwhelming trials of life by minimizing it, and the storyteller as narrator became superior to circumstance with wit and humor.
In true rough-and-tumble fashion, the hero and heroine of the tall tale mocks and defies convention. The tall-talk of the tall tale, like the hero who inhabits these tales, is as wild and unabashed as the frontier that created it. The language defies the tidy and restrictive, even uptight, structure of formal grammar. It mocks it, in fact, using pseudo-Latinate prefixes and suffixes to expand on the root. The result is a teetotaliciously, splendiferous reflection of a frontier too expansive for mere words to capture. By creating such a grand language, the frontier storyteller found a means to make an unknown frontier less scary. The grander language captured the bigger ideas of frontier life.
In reading such tales, a young reader develops an appreciation for language itself, for language is more than mere words: the rhythms and patterns, the musicality and the poetry of language. Studies suggest that language acquisition is keyed to youth, and we can infer that language appreciation is similarly keyed.
As Mary and Herbert Knapp suggest, the traditional tale plays a vital role in holding together“the frayed, factory-made fabric of our lives.” Such tales connect us to the past and to each other, exist when people share an identity, “and since all of us once belonged to that group of human beings we call children, the folklore of childhood brings together all of us.” (One Potato, Two Potato: The Secret Education of American Children, 1976).
What are your favorite traditional tales?
Thank you! A version of this article was published by Children’s Literature Network (2012). Thank you to Vicki Palmquist and everyone at Winding Oaks Children’s Literature for all their support for the children’s education and literature field.
If you live long enough, life becomes more about letting go than of gathering. It is inevitable, this letting go.
Sometimes we have to let go of our favorite things: our favorite pair of shorts worn to the fray. Our favorite book with its tattered pages. Even our car, with its 200,000 miles of memories.
Sometimes we let go of clutter, and wonder why it took us so long to throw them out. You know what I speak of: The box full of old research gathered for stories that probably won’t ever be written. Those uncomfortable shoes with pointy toes and impossibly high heels that you never, ever wore, but dang they look sparklie. Those skinny jeans that felt more like a bone corset then denim. Those old love letters, although the guy went on to marry someone else. Those laser disks (what?). Those eight-tracks (what?). That rotary phone (what?). Those old ideas that no longer serve a purpose in our lives.
Sometimes the letting go is more profound, as we say good-bye to our special friends, the four-legged as well as the two-legged sort. And those with wings. And we say goodbye to family. To colleagues and heroes and inspirations.
Of course, the key phrase in all of this, If You Live. And perhaps, along the way of living our lives, we gather some understanding of it all. We become, hopefully, wise. It’s an elusive concept to grasp. Through the ages, religious leaders, philosophers, even politicians have debated on what is wisdom.
According to Dr. Vivian Clayton, wisdom consists of three elements: cognition, reflection, compassion. Wisdom happens when we take the time to gain insights and perspectives from one’s cognitive knowledge , what she calls the reflective dimension. Then we can use those insights to understand and help others, what she calls the compassionate dimension.
Of course, if it were that easy, with just three ingredients, there wouldn’t be all this debating about what it means. That’s why I like hanging out with poets. They know about such things. Marion Dane Bauer inspired me in her recent post, “Because receiving is another way of giving. The giver grows in the giving. And that’s a truth we all need to hold close at any time of life!”
And her wisdom resonated with me. I am not the poet like my fellow Teaching Authors. Did you see Carmela’s Thanks-Giving Thanku?
I am just a storyteller. Begging your indulgence, I was reminded of an old English folktale (Source: Lindsay, Maud. The Storyteller. Lothrop, Lee & Shepard; 1915). It went something like this:
There once was an old woman who lived in the woods. One day, she decided to bake apple dumplings. These dumplings were her favorite. She had everything she needed to bake the dumplings, except for the apples. She had plenty of plums, however. She filled a basket with these plums, covering them in her finest white linen. Then she dressed in her finest clothes and set out to trade these plums for some apples.
Morguefile
By and by, she came across a young woman. The old woman asked the younger if she had apples to trade for her plums.
“No,” said the young woman, as she looked with such longing at the plums. “I have plenty of chickens, and not much else.”
The old woman traded her basket of plums for a bag of feathers. The old woman thought it was a good trade. The bag of feathers was much lighter to carry.
By and by, the old woman came to a garden, one of the loveliest gardens she had ever seen. She stopped a moment to smell the roses when she heard a couple arguing. The couple saw her, too.
“Tell us, old woman," said the woman. "Do you agree that cotton is best for making a cushion on our bed?”
“No,” said the old woman.
“See, the old woman agrees with me,” said the man. “Straw is best for our bed!”
“Never straw!” said the old woman, as she held up her bag of feathers. “But a bed made of feathers is fit for a king!”
The old woman traded the bag of feathers for a bouquet of roses. She thought it was a good trade.
By and by, the old woman met a young prince who looked as sad as a rainy day.
“I go to meet my lady love,” said the young prince. “But I have no gift to show her how I truly value her.”
“Give you lady love these roses,” said the old woman. “And she will know.”
She traded the bouquet of roses for a gold farthing. What a good trade! At last she had enough money to buy her apples!
You may think the story might end here, for it seems like a happy ending. But it does not.
By and by, the old woman came to a young mother and her child, who stood with a big and furry dog. They were all frail from hunger.
How can I eat apply dumplings when my neighbors cannot eat at all? thought the old woman. And she said to the young mother,” I have need for a companion, and would ask for your help. May I trade this gold coin for your handsome dog?”
The young mother agreed. The old woman worried now, for how could she take care of a big and furry dog? Where would he sleep? What would he eat? Lost in her thoughts, she didn’t notice where she was walking.
“That’s one fine dog,” someone said. She looked up to see an old man rocking on his porch. His house sat in the shade of an old apple tree.
“That’s a fine apple tree,” she said.
Morguefile
“Apple trees are poor company to an old man who cannot bake,” he said. “But I’d trade all the apples you want for that fine fellow!”
The old woman traded the big and furry dog for a barrel of apples. She baked apple dumplings for her and her new friend. And that night, she enjoyed one of the finest apple dumplings she had ever baked.
Not The End.
My list of grateful things:
My daughter, who stands above any list.
For the wisdom of my friends. For working in a field where my heroes have become my friends. Including Eric and Marion, Monica and Emma, and Karen, and far too many that I do not have space enough to list. Thank you.
For the compassion, and love of my kindred spirits, like Cynthia, Carmela and The Teaching Authors, Rebecca and the Collective, Brian and the Snuggies; for soul sisters Jo and guiding lights Bonny and Bette. And many more. Thank you.
For apple dumplings.
If you like this tale, you might be interested in my book, One Fine Trade, illustrated by Will Hillenbrand (Holiday House, 2009).
Ginger Nielson tells a soothing folktale set deep in the forest. When Little Bear asks, “Where did the stars come from?” Mother Bear leans in closely to share a Native American legend from “the far, far north.”
This collection of pithy tales is multi-layered. The stories linger in the mind the way a good poem resonates. They are ancient Chinese fables Shiho S. Nunes has expanded into longer tales.
“Based on a traditional story from the Creek Indians of northern Florida and Georgia, ‘The Otter, the Spotted Frog, & the Great Flood’ tells the tale of Listener the Otter, the only animal that heeds the warnings of Spotted Frog. Ridiculed by the other animals, Listener begins to build a raft to try and survive the impending disaster. But will his effort be enough?”
Opening
“There were two animal people who lived in the long ago. One was Listener, a river otter. The other was Honors Himself, a buffalo chief.”
The Story
In the span of four days, Listener and Honors Himself would take different actions upon hearing the prophecy of Spotted Frog. Listener was the only one who had the ability to understand the frogs’ singing. Spotted Frog sang,
“A Great Flood is coming.
Soon it will cover the land.
I sing so that you can save yourselves.”
Honors Himself, who claims to hate frogs, throws Spotted Frog into the fire, but no matter how many times he does this, Spotted Frog remains unharmed. Honors Himself refuses to believe the prophecy though Other Woman tries to understand but can see no sign of rain. Listener reacted differently. He ass Spotted Frog to repeat the prophecy and then does exactly what Spotted Frog tells him to do—build a raft.
Honors Himself calls Listener a fool and the other animals laugh at Listener. Through it all, Listener continues to build his raft and follows all of what Spotted Frog tells him. Soon it starts to rain, lightly at first and then heavier. The ground swells with water and the swamp becomes a great lake. Water covers the land and rises. What becomes of the other animals, Listener, Honors Himself, and Other Woman?
Reproduced by permission of the publisher, Wisdom Tales Press, Bloomington, IN.
Review
The Otter, the Spotted Frog & the Great Flood: A Creek Indian Story tells the story of the flood and Noah’s Ark. It is an original story from the Creek Indians. Other Native Indian tribes have similar stories. Listener follows the prophet Spotted Frog, just as Noah followed God’s orders to build an ark. Honors Himself is the perfect name for those that followed only what they could see or knew, rejecting everything else. Honors Himself becomes so upset he tries to kill the prophet Spotted Frog. That reminds me of a saying, from who I do not know, that says not to kill the messenger.
Reproduced by permission of the publisher, Wisdom Tales Press, Bloomington, IN.
The story also explains how man—the two-leggeds—came to exist. There is so much symbolism in The Otter, the Spotted Frog & the Great Flood that this book is best for middle grades and above. I think younger children will understand the straightforward story of the Great Flood but not that of the birth of people—the two-leggeds. The transformation of Listener to a man might even test middle grade students. The Great Flood is the majority of the story and it is interesting. Listener ties his raft to a strong tree and rises up to the dome of the sky, safe from passing through it and never returning. With the rope, Listener connects to the tall, mighty oak—a higher spirit, who in turn protects Listener
Teachers might find The Otter, the Spotted Frog & the Great Flood a good book when teaching Native Indian traditions and teachings. This book also lends itself to the study of symbolism. The illustrations visually interpret the story giving the book an unmistakable folktale style. With the text, The Otter, the Spotted Frog & the Great Flood will entertain the reader while instructing on the power of Mother Nature and of listening to her, to those more knowledgeable than oneself, and to a Higher Power. Animal stories have a way of capturing a child’s attention, so it is no surprise the Creek Indians used animals in this story.
Reproduced by permission of the publisher, Wisdom Tales Press, Bloomington, IN.
I found The Otter, the Spotted Frog & the Great Flood to be an interesting story that required a slower, more thoughtful reading, and even a second reading to fully comprehend all of the symbolism used. This is a beautiful book. The bright illustrations that will catch a child’s eye, just as the use of animals will hold their attention. The heavier pages will withstand grabbing by little hands.
.
Learn more about The Otter, the Spotted Frog, & the Great Flood HERE.
Do you have a favorite story about Thanksgiving? Something that happened at the table? Something that happened on that day? Or, do you have a folktale that reminds you of the joy of a grateful heart? One story that I love to tell during this season is the Japanese story, "Roly-Poly Rice Ball". I found this story in Margaret Read McDonald's Twenty Tellable Tales.
The story has a common theme. One woodcutter is rewarded simply because he shared his lunch willingly with someone and was grateful for the gift he received. His neighbor is punished for demanding a similar reward and showing bad grace when he received it.
The greedy are often ungrateful and the ungrateful are likely to be greedy. The grateful, on the other hand, understand how to accept a gift and how to share it.
My apple pie looked every bit as good as this!
We spent this Thanksgiving Day with friends, not family. I was fighting a head cold and I avoided my immune-compromised father (chemotherapy) and my tiny newborn granddaughter for that reason. (I did break down and take the last of the apple pie to my son and his wife but I sat as far away as I could stand it from the baby so I wouldn't breathe on her.) Thanksgiving Day was a lovely day, warm and sunny, and spending it with my husband, my good friend and her husband and their two wonderful and goofy dogs was a blessing.
That said, I so missed the hustle and bustle of the holiday - which we have shared with our son, his wife and her family for several years now. So I invited that crew and a few other people for Drop By for Pie. It was last minute inspiration and Thanksgiving weekend is NOT a good weekend for last minute invitations. But the people who appreciate my pie the most showed up. I got my baking urges out without adding significantly to my girth or that of my husband and our pie-loving friends got their pie!
I hope you all had a wonderful Thanksgiving and spent it with someone you love!
Just received copies of the December HIGHLIGHTS with my story "Why Bears Sleep All Winter: A Tale from Lapland." LAPLAND?
No, I have no ancestral family stories from Lapland. I found this charming story in a tattered second hand volume of Scandinavian folktales published decades ago. The moral of my discovery (ditto the folktale) is to do good works. I was volunteering at a church book sale when I pulled the volume from a dusty donation box.
I've always loved the how or why (pourquoi) stories. One of my favorites is the old African-American one called "Why Dogs Hate Cats." The story begins with dog and cat best of friends until the day they go to town and buy a big ham. On the hot, dusty road going home, they take turns carrying their prize dinner. When dog carries the ham, he always chants, "Our ham, our ham," but when cat carries the ham he always chants, "My ham, my ham." Well, you can see it coming - not far from home cat climbs a tree with the ham and eats it all. Dog declares, "I can't get you now, but when you come down out of that tree, I'm going to chase you 'til you drop."
What's your favorite folktale?
10 Comments on Why Bears Sleep All Winter, last added: 11/20/2011
Gale - I would have to say YOUR retellings are my favorite folktales! btw...Grace has a subscription to Highlights and I opened it up and said "Hey, my friend wrote that!" I love this story!
Linda, Robin and Marcia, Thank you all for the generous comments. Yes, I feel lucky to have been published twice in HIGHLIGHTS this year. Funny how stories can be held for years and then come out in quick succession.
Congratulations on another published Highlights story Gale! One of my favorites is the Musicians of Bremman, I think it's called. Old animals who are no longer useful leave their homes, and instead of finding new jobs, they find each other, and a new home. Irish folk stories are also interesting, but all depressing with dead heroes at the end. You've inspired me though - I might look into freshening one of those up (i.e., maybe the hero could live?)
J.A, Eileen, Julie and Meg, Thanks for taking time to comment with congratulations. Here's hoping J.A. had a good nap and Julie finds an Irish story she can lighten up. Yes, some of the Scandinavian tales are dreary also. Maybe the climate has something to do with it?
F. Isabel Campoy is a scholar devoted to the study of language acquisition. She is a well-known author of numerous children’s books in the areas of poetry, theatre, folktales, biographies, and art. She is the recipient of many notable awards, including the Reading the World Award 2004, for “Cuentos que contaban nuestras abuelitas;” and the Junior Library Guild Premier Selection Award, 2006.
TCBR: As a writer, you have a strong focus on the culture and civilization of the Hispanic world. Can you share a little on your background and how you became a children’s book writer?
F. Isabel Campoy: I cannot remember a time in my life in which I wasn’t part of the world of children’s literature. As soon as I learned to read I became the person that teachers chose to read out loud to the rest of the class while they did art, or sewing. I had a good voice and I couldn’t hold a thread and needle for more than two seconds, so it was a perfect match to keep everyone busy. That practice stimulated the writer in me and when I was eleven-years-old I published my first tale in a local magazine. I continued writing throughout my childhood. When I came to the U.S. for the first time at age fifteen in 1963, writing kept me alive through the difficult moments of missing my family (I was here as an AFS exchange student), and conquering my fears after the tragic assassination of John Fitzgerald Kennedy on November of that year.
My first job after college was as an assistant editor in Madrid. I applied to the position because it was my way to be part of the publishing world. Later I was offered the opportunity to co-author with Phillip Locke a series for the teaching of English, my responsibility being to provide the literary texts. I left publishing many years later. At the time, I was a Senior Acquisitions Editor for College publications in a company in Boston. I realized then that the joy of publishing others was hiding my fear to publish my own manuscripts… so I finally quit everything and became a full time writer.
I love to travel. I am interested in the places, the people, and their histories. When I began writing for children I wanted to contribute to present the cultural richness of Latino history, art, and literature for readers in this country. There is much to be written about our culture.
Authors love all their books, but there are some that connect with you in a very personal way. “Tales Our Abuelitas Told” was published the year I lost my mother. She was the greatest storyteller, imaginative, soft spoken, and these were tales
Tales Our Abuelitas Told: A Hispanic Folktale Collection
by F. Isabel Campoy and Alma Flor Ada
Atheneum. Simon & Schuster
Book overview: Once upon a time, in a land far away…
These stories have journeyed far—over mountains, deserts, and oceans—carried by the wind, passed on to us by our ancestors. Now they have found their way to you.
A sly fox, a bird of a thousand colors, a magical set of bagpipes, and an audacious young girl… A mixture of popular tales and literary lore, this anthology celebrates Hispanic culture and its many roots –Indigenous, African, Arab, Hebrew, and Spanish.
F. Isabel Campoy and Alma Flor Ada have retold twelve beloved stories that embody the lively spirit and the rich heritage of Latino people.
This unforgettable collection is highlighted by the work of four leading Latino artists: Felipe Dávalos, Viví Escrivá, Susan Guevara and Leyla Torres.
Awards
A Junior Library Guild Selection
Kirkus Reviews Best Books
A Parent’s Choice Recommended Book
Best Books of the Year, Notable Books for a Global Society – American Library Association
Best Folklore in Best Books of the Year, Nick Jr. Magazine
Featured Book of the Month, Colorín Colorado Website, American Federation of Teachers
List of Best Books for 2006, New York Public Library
Critical Acclaim
The introduction to this delightful collection explains clearly how stories develop and change over time; in fact, the two storytellers heard most of these amusing tales when they were children and have retold them many times since in their own unique styles. … Children will relish their humor, especially if read aloud, and teens will also enjoy this lively presentation. Traditional story beginnings and endings are provided in Spanish and translated into English … . Make room on your shelves for this excellent book. ~ School Library Journal
The authors celebrate Hispanic culture and its many roots–indigenous, African, Spanish, Arab, Hebrew–assembling tales from as far afield as Spain and Idaho, and showing how the tales have transformed and influenced one another, and even how Ada and Campoy have changed them. … The spacious book design will work well for both independent reading and reading aloud, and each story is illustrated with one or more full-page pictures in
Here’s a new piece I did recently. I had a vague interest in making a few samples from common folk tales in order to diversify my portfolio a little, but it wasn’t until I looked at an old National Geographic image of a Slovakian forest that I felt inspired to complete something. The photo in question was a little ominous and creepy and yet beautiful and full of light, and something about the atmosphere made me think of all the European fairy-tales that feature children wandering off in the woods.
In painting this I made a conscious effort to loosen up a little. One of my recent critique comments was about letting the paint be paint, and to not attempt to make it “perfect.” It’s challenging to loosen up when I know how easily a watercolor can be ruined, but I’m trying to let dark areas blend into one another and allow the foliage to be a little more free. It’s still not where I want to be, but I think it might be a tiny step in the right direction.
For Little Red’s character, I spent a fair amount of time ransacking my closet for something that seemed like a suitable Red-Riding-Hood costume so that I could pose and photograph myself in it. I wasn’t terribly successful in finding a charming French Peasant costume, so I had to make some leaps of the imagination anyhow. However, I think the process of posing as the character was very hepful for me to understand her emotions and the expression on her face.
Developing characters with real, believable personality is definitely something upon which I’m working to improve. What makes my character unique? What does she like and dislike? What’s the first thing she does when she wakes up in the morning? I don’t always know the answers to these sorts of questions, and as a result my characters often end up looking bland and altogether too similar to each other. It’s an ongoing effort, so perhaps I’ll continue the discussion of faces, character and expression in another post.
I’m going to add this original and possibly prints to follow to my Etsy shop, so check the shop soon.
My retold English folktale "Five Foolish Brothers" appears in the August issue of HIGHLIGHTS.
I enjoyed finding a new way to portray the problems of these thickheaded siblings. Love those noodlehead stories! No wonder they've lasted for centuries.
3 Comments on Five Fools Revealed, last added: 8/28/2011
Congratulations Gale. I plan to look for your story at the library. Is this similar to the book you have called Falling Leaves and Foolish Brothers? If so, perhaps you'd share how you got more milage out of your ideas in another blog post. I'd love to hear and I think other readers would too. Thanks for considering it.
Actually, the HIGHLIGHTS story is a retelling of an old, classic tale. The FALLING LEAVES AND FOOLISH BROTHERS is an original story. I have written four stories about those foolish brothers, one for every season.
Judy, Yes, I love both retelling and devising foolishness.
Category: Young Adult Fantasy Format: Hardcover (also available in eBook, Kindle and audiobook) Keywords: Revenge, Siblings, Fairytales, Folktales, Fables
Thuy's review:
Peter & Max is a stand alone novel set in the Fables-universe of author Bill Willingham. Fans of Fables will be familiar with the folk and fairy tale personalities that show up in the story. However, those who haven't read the series need not worry. You don't need to be a fan of even very familiar with Fables in order to enjoy the book (though you should be, so do yourself a favor and pick up Fables asap ;).
Peter & Max is the story of Peter and Max Piper of Pied Piper fame. Their entire family is part of a traveling minstrel show. One dark night, soldiers invade their lands the family is torn apart. Alone and scared, Peter becomes a thief to survive. Max, having gone down a dark path, works to perfect his dark magic. He vows that one day, he will find and kill Peter, taking the flute which he believes should have rightfully been passed down to him. Hundreds of years pass and Peter is living a quiet life in a new world with his wife, Bo Peep, when he learns that Max has been spotted. Knowing the death and darkness that Max brings, Peter leaves on a quest to find his long lost brother and end their feud once and for all.
I didn't know much about the legend of the Pied Piper before reading this book. Most of what I remember is from an old Tom & Jerry cartoon. However, I was quickly pulled into the story of Peter Piper and his brother Max. The story shifts perspective between Peter and Max and we see through each of their eyes the events that end up shaping them and eventually pulling them apart. Max's descent into darkness is fascinating to watch and he definitely creeped me out.
Willingham does a fine job of translating the Fables world into a full length book. He blends what we already know about a story with his own ideas so that it is one seamless world. Like many traditional fairy tales, Peter and Max is at times dark and violent. It's a world where wondrous and terrible things happen and where not every ending is a happy one. Lovely black and white illustrations by Steve Leialoha add to its storybook quality. For Fables fans it's a nice addition to the universe. For fans of dark fairy tales or modern retellings of classic tales, it's a quick and fun read.
I loved this one too! He's coming out with another one this fall as well but I think it's meant for even younger ages - middle grade - which excites me because I may be able to put it in my library for my 4th and 5th graders. Love love love Bill Willingham's book and graphic novels. :)
"Run, run, as fast as you can! You can't catch me; I'm the Gingerbread Man!"
It's still fun to chant, isn't it? I'm pondering why this little rhyme is so endlessly appealing to kids, beyond its obvious bounce. An informal trawl of internet sites for teachers suggests that at this time of year, 5- and 6-year-olds all over the country are immersed in The Gingerbread Man. He's handy because he has a festive holiday feel but is resolutely areligious.
Certainly he holds a special place in my heart because it's a family tradition to thread red floss through holes in the heads of our simple, two-currant-eyes-and-a-knife-point-smile gingerbread men and hang them all over the tree. The children and I use a cutter that my mother used as a child, a transparent blue plastic piece her mother bought in the 1930's. I'll post some photos once our baking gets underway. (And gingerbread dough is a wonderfully versatile medium: as young adults my partner and I based a whole holiday party around gingerbread Patsys and Edinas from Absolutely Fabulous.) For me, gingerbread men are a symbol of cozy family comfort during a dark and dangerous time of year.
I think of the The Gingerbread Man as an equivalent story to The Little Red Hen: patterned repetitive plots, rhythmic refrains, an important lesson to be learned. But wait--what is the lesson of The Gingerbread Man? It took me three seconds to realize what everyone else has perhaps always known, but if you hang out with 4 to 7-year-olds your whole life, you could miss it. What little children love is the naughtiness of the Gingerbread Man who gets up half-baked and runs away from home, and their favorite versions are the ones in which the Gingerbread Man actually LAUGHS AT those who are chasing him.
I'm not sure, once they get over the shock of the SNIP-SNAP! at the end, that children go away thinking, "Oh! I'd better stick close to home, and if I do go out on my own, I'd better beware the sly fox who pretends to be my friend but really wants to eat me alive." And while I always make a big deal about the Value of Cooperation when reading The Little Red Hen, I have never, as a teacher, emphasized the Stranger Danger message of The Gingerbread Man.
But I have considered the point of view of the oven.
Half-Baked
I didn’t want to let him go, my gingerbread baby. I cradled his doughy little body in my fiery belly I crooned a lullaby to soothe him through those searing minutes inside: “Done done done at last in the pan You can’t leave me till you’re a Gingerbread Man”
But some impatient someone opened the hatch and he jumped his half-baked gingerbread self right on out the door. He hit the floor running, singing the only words he knew, chanting his spicy little song, singing it all wrong: “Run run run as fast as you can You can’t catch me I’m the Gingerbread Man”
Come to think of it he had no ears, bless him just two little currant eyes and three little currant buttons making him think he was all dressed up and ready to go: “You can’t catch me I’m the Gingerbread Man”
He ran on his feisty little feet He ran his sassy little gingerbread mouth until he came to the river. Fresh as he was even he knew he oughtn’t to cross that water but oh poor baby he didn’t know enough
The farmers coming for their bread told me all about it, how the sly old fox did as he must and
7 Comments on "you can't catch me", last added: 12/4/2010
Oh, the poor oven! I love that "fiery belly" and the Gingerbread Man's "feisty little feet" and "sassy little gingerbread mouth." Oh, baking cookies is going to feel different this year. Thank you for this interesting post - I've never thought much about this rhyme before. Do you have a gingerbread recipe you would be willing to share? A.
Oh, I love that poor oven! And the red floss from those naughty areligious little men. And cinnamon, nutmeg, ginger.. thank you for the wonderful poem and accompanying exegesis!
Demi. The Hungry Coat. Margaret K. McElderry, 2004.
“Once upon a time in Turkey there lived a funny, little wise man named Nasrettin Hoca. He wore a huge, white turban and a worn-out coat made of patches upon patches. Riding about on his little gray donkey, he liked to help whomever he could.”
When Nasrettin sets out to visit a friend who’s having a banquet, he encounters a caravan getting wrecked by a frisky goat. Because he stops to help, Nasrettin finds he doesn’t have time to change his dirty clothes before visiting his friend. He finally arrives, but instead of the friendly, cheerful welcome he expects, he is ignored. Nasrettin slips out and returns, this time wearing an elegant silk coat. The host promptly invites him in and gives him all the fine food previously denied him. But Nasrettin has a trick up his sleeve; he starts to feed his coat instead of his belly! Children will love chanting the refrain “Eat, coat, eat” and as they participate in the story, they’ll understand what Nasrettin’s host should have: It’s wrong to judge a person by his clothes. Demi’s gorgeous paintings feature the motifs and colors of traditional Turkish art and brighten this lively tale featuring Turkey’s famous folk hero.
More Tales of Hospitality
Becker, Bonnie. A Visitor for Bear. Candlewick, 2008. A grumpy bear posts a “No visitors” sign outside his door. But a bright-eyed, friendly mouse keeps popping in and opens Bear’s eyes to his need for companionship.
Leodhas, Sorche. Always Room for One More. Illus. by Nonny Hogrogian. Caldecott Medal.Lachie MacLachlan lives in a “wee house in the heather” in Scotland, with his family of twelve. He always welcomes every weary traveler who wanders by in rough weather. His guests show their gratitude in a delightful way that continues to charm readers young and old.
Kinsey-Warnock, Natalie. Nora’s Ark. Harper-Collins, 2005. Based on the Vermont flood of 1927, the author tells a memorable story of how a girl’s grandparents welcome neighbors, chickens, ducks, pigs, a horse and a cow into their home on the hill as the waters rise and uproot their community. The humorous, detailed paintings by Caldecott Medal-winning artist Emily Arnold McCully evoke the dangers of the flood and the warmth of a kitchen filled with kind people and good cheer.
Muth, Jon. Stone Soup. Scholastic, 2003. Muth retells a beloved old French folktale and transports it to China. Instead of hungry soldiers, he features three monks who know the importance of community in making people happy. This picture book presents a feast for the eyes, heart and mind.
Ryan, Pam Munoz. Mice and Beans. As Rosa Maria prepares for a big family party, some mice are planning their own festivities. Even though Rosa Maria sets mouse traps, the mice save the day when they notice she forgot to stuff the piñata.
Rylant, Cynthia. The Relatives Came. Aladdin, 1993. It’s a full, full house every year when the relatives come bumping up from
4 Comments on Welcome to my Table: Tales of Hospitality, last added: 11/23/2010
Spotlight on the Wordpress.Com Book Bloggers! « R said, on 11/22/2010 3:04:00 PM
[...] Books of Wonder and Wisdom – Children’s literature that cultivates peace, justice, respect and curiosity by Janice Floyd Durante – “Welcome to my Table: Tales of Hospitality“ [...]
M. Howalt said, on 11/23/2010 12:29:00 AM
I really just wanted to compliment you on this blog! The idea is brilliant, and I absolutely like your writing! Keep up the good work.
Janice Floyd Durante said, on 11/23/2010 7:38:00 AM
Thanks for your encouraging comments, M.! I love spreading the news about great children’s books. I hope you’ll keep enjoying my blog; I post my reviews and recommendations each week, usually on Wednesday.
A feminist retelling of a classic folk tale, this book combines a stylish modern feel with the classic feel and tone of a folk tale. A farmer needs to decide which of his children he will leave his farm to. Will it be the brawny Franz or the beefy Hans? He doesn’t even consider his daughter Mary because she is a girl, though Mary does have something her brothers lack: brains. The farmer gives each of his sons a single penny. Their challenge is to purchase something with their one penny that will fill the entire house. Franz heads to the market and purchases lots and lots of straw, but he cannot manage to fill the entire house. Hans heads to the market and purchases lots and lots of feathers. Though he fills the house further than his brother, he too fails. Now the farmer is in despair until Mary asks to try. And you will just have to read the book to find out how Mary spends her penny and fills the entire house.
Landman’s text here sets just the right tone. She plays with the repetition and rhythm of the traditional folk tale, yet injects a modern sensibility about the role of women in society. Thanks to the traditional features of the book, it is a pleasure to read aloud. Holland too plays with the traditional and modern. In his case, he uses sleek modern lines and modern illustration techniques yet still manages to have something vintage in them. The illustrations have lots of white space and textures and patterns that make them very interesting and unique. They also have a flatness that hearkens back to traditional folk art.
A skillful combining of the traditional and the modern, this book should not languish on your folk tale shelves. Get it into the hands of parents and teachers. It would also make a great choice when librarians visit elementary classrooms, because its modern edge will draw slightly older children into the story. Appropriate for ages 4-8.
This companion book for the wonderful Swamp Angel is filled with the same tall tale antics of the first. Swamp Angel grew too big for the state of Tennessee, so she had to move to the wide open spaces of Montana. Unfortunately, the sun woke her too early so she plucked some mountains and placed them around to create some shade, making the buttes of Montana. But her biggest problem was finding a horse that she could ride. They were too small to carry her. Then a huge storm came across the state, kicking up dust and sucking the roof off of her barn. Swamp Angel jumped onto the storm and rode it until it turned into a horse that could strike lightning with its hooves. When Backward Bart and his Flying Desperadoes enter the state, Swamp Angel and her horse, Dust Devil, have to combine their strength and size as well as a secret weapon to bring them to justice. A wild stampede of a story, this is a tale worthy to follow in the huge footsteps of the original.
Isaacs has a wonderful time with the language of tall tales, using words that dance and whirl, immediately placing readers on familiar ground but amping it up to a new level. Her description of the jail is worthy of note as a great example of her word play: “single-starred, double-barred, triple-guard jail.” Isaacs’ story is completely jam-packed with Angel being a tall tale heroine. She exemplifies everything readers want in adventure. Isaac also adds a punch of humor to the book from the rollicking words she chooses to the villains themselves. Backward Bart speaks his sentences in reverse-word order, which will have children listening very closely to be the first to decipher what he is saying.
Zelinsky’s illustrations are done in oils on cedar, aspen and maple veneers. This gives the illustrations a great framed effect that is rustic and perfectly suited to the story. Zelinsky enjoys playing with perspective in his illustrations, offering views that intensify the size of Angel and Dust Devil. The illustrations have a timelessness that is very appealing.
Swamp Angel is a girl who will give Paul Bunyan a run for his money, just as Dust Devil stands up well to Babe, the Blue Ox. This brand new tall tale heroine stands tall among giants. Appropriate for ages 5-8.
Reviewed from copy received from Schwartz & Wade Books.
I've been spending time lately with Jacob and Wilhelm (Grimm, that is) and I want to share a surprising tale called "The Golden Key."
"In the winter time, when deep snow lay on the ground, a poor boy was forced to go out on a sledge to fetch wood. When he had gathered it together, and packed it, he wished, as he was frozen with cold, not to go home at once, but to light a fire and warm himself a little. So he scraped away the snow, and as he was thus clearing the ground, he found a tiny, golden key. Hereupon he thought that where the key was, the lock must be also, and dug in the ground and found an iron chest. 'If the key does but fit it!' thought he; 'no doubt there are precious things in that little box.'
"He searched, but no keyhole was there. At last he discovered one, but so small that it was hardly visible. He tried it, and the key fitted it exactly. Then he turned it once round, and now we must wait until he has quite unlocked it and opened the lid, and then we shall learn what wonderful things were lying in that box."
And that's the end!
Since the early editions of the collected Grimm fairy tales, this story has been the last one - number 200. Jacob and Wilhelm chose this placement purposely. Interesting. "The Golden Key" is a story with a DIY ending.
Why did they chose this story to conclude their collection? I have a couple of ideas. What about you?
4 Comments on An Unexpected Ending, last added: 7/18/2010
What a great ending! I imagine it would be a lot more exciting to come up with your own ideas of what's in the box than if someone else told you. That way anything could be inside.
I think it is because they were all about fantasy. How can they write about fantasy and then leave the reader to a logical, real world conclusion? They needed, in order to conclude with what they started, to leave the reader with a sense of fantasy. To know that imagination lies far beyond what they have written.
Anna, Yes, my theory as to why they ended their fairy tale collection with this story was to show that the oral folktale tradition they worked with was (and still is) endless.
Ruth, I agree with the classroom suggestion - an excellent use for the story.
Christy, Is imagination the "golden key"? I think so.
Thanks to you all for taking time to read the story and comment!
21 trickster tales are given the graphic treatment in this spectacular graphic novel. With great attention to authenticity, Dembicki paired Native American storytellers with graphic artists to create this collection. Readers will enjoy the diverse types of art within the book, moving from more painterly to cartoony and everything in between. The text of each story is also quite individual, reflecting that storyteller’s cadence and style. The collection as a whole is a celebration of Native American culture but also of tricksters and the great stories that revolve around them.
Turning pages in this book is rather like an exploration. One never knows what is behind the next page. Dembicki has created a book that works as a collection but also allows each story to stand on its own with its own distinct feel. There is an art at work in the selection, placement and creation of the book itself and of each and every story. I love the sense one gets of an entire community of people creating this book, this celebration of story.
Use this to introduce children to Native American stories or to the idea of the trickster in folklore. It is a powerful example of modern media meeting timeless tales that will resonate with children and adults alike.
Highly recommended, this graphic novel should find a place in most public libraries. I would hesitate to catalog it as folktale, and allow the graphic novel reader to realize the depth of what a graphic novel can truly be. Appropriate for ages 7-12.
Nabeel had a busy day selling shoes, now he was ready to buy his family gifts for Eid. He purchased a burqa for his wife, a dupatta for his mother, and bangles for his daughter. On his way out, the shopkeeper recommended that Nabeel buy himself some new pants since his were worn and patched. Nabeel agreed, but the only pants there were 4 fingers too long. Once he got home, Nabeel gave his wife her gift but she was too busy to shorten his pants for him. His mother was given her gift, but she was also too busy to shorten his pants before Eid. Mariam, his daughter also was too busy. So Nabeel went home and shortened the pants himself, 4 fingers. His wife found time too to shorten the pants 4 fingers. His mother came over and also shortened them 4 fingers. Finally, his daughter too shortened the pants. Now what was Nabeel to wear to Eid?
With the feel of a classic tale, this book offers a universal style of folktale with plenty of repetition and cumulative action. Children of all cultures will immediately feel at home here. Gilani-Williams has kept the text tight and focused, making a great read aloud Muslim story. Even when the humor is unfolding, the text keeps a straight tone that adds even more humor. Roy’s illustrations have a classic feel to them merged with a cartoon style.
A clearly Muslim tale with a universal feel, this book is perfect for any public library collection. It will fit in well with story times or units about clothing or celebrations. Appropriate for ages 4-7.
Reviewed from copy received from Marshall Cavendish.
King Karnak has no heir and is coming to the end of his reign. So he puts out a call for anyone who wants to be king to come and join in a competition. Knights come from across the land, ready for the battle to begin. But the king surprises them all by handing each one of them a seed and asking them to bring it back in six months to show what they have grown. A boy, Jack, who came only to witness the competition, gets a seed for himself. Jack tries and tries to make his seed grow, but nothing works and six months later he heads back to the castle. There he finds the knights with armloads of plants, huge flowers, all different from one another. Jack doesn’t want to admit his defeat to the king, so what’s a boy to do?
Maddern’s storytelling has a great flair, filled with small touches and humor that really bring the story to life. The book has a strong message that is not overdone. It also has a classic folk tale format that is mixed with a modern storytelling style, creating a very engaging book. Hess’ illustrations are bright-colored and offer interesting perspectives on the action. They will work well with a group.
Ideal for reading aloud, this book is a great modern folktale that emphasizes the importance of honesty. Appropriate for ages 4-8.
We have another first today--our firstGuestTeaching Author interview with a Teaching Author who is also an Illustrator: Elizabeth O. Dulemba! We are pleased to be part of Elizabeth's blog tour for her first picture book as both author and illustrator, Soap, Soap, Soap ~ Jabón, Jabón, Jabón (available in bilingual and all-English versions) published by Raven Tree Press. See the end of this post for information on how to enter for a chance to win your own autographed copy!
Elizabeth is the award-winning illustrator of seven trade picture books. She speaks regularly at conferences, schools, and events, and once a year, she teaches "Creating Picture Books" at the John C. Campbell Folk School in North Carolina. She is the Illustrators' Coordinator for the Southern region of the Society of Children's book Writers and Illustrators (SCBWI) and is on the Board for the Georgia Center for the Book, where she is a strong advocate for the children's writing community.
Elizabeth, can you tell us how you became a Teaching Author/Illustrator?
I've always said if I wasn't a children's book author/illustrator, I'd be a teacher. One of my regrets in life is that I didn't stick around for an MFA in college--a degree which would have opened doors to teach in colleges and private schools. I still hope to achieve the degree someday. In the mean time, I have taught every chance I could through alternate means. I was a substitute teacher straight out of college; taught Beginning Drawing through the Chattanooga Arts Center in Tennessee; speak regularly at schools (grade school through adult), conferences and events; and teach 'Creating Picture Books' once a year at the John C. Campbell Folk School. I love to teach--it's a constant puzzle. Every student absorbs information differently and it's up to me to figure out how to relay that information in a way it will be best understood by each particular brain. It's a challenge that I adore.
What's a common problem/question that your students have and how do you address/answer it?
In line with what I mentioned above, if a student doesn't understand what I'm trying to relay, I have to approach the information differently--until I find the way that person learns best. Low attention spans can also be a challenge (even in adults!). I try to keep things dynamic to keep everybody engaged. (Full-time teachers must have amazing energy--I wish they could bottle it.) If I see I'm losing a student, I'll direct a question to him or her to pull them back in.
Would you share a favorite writing exercise for our readers?
Since I am an illustrator first, my exercise has a craft/visual element. I have students create a mini-book with a strip of paper--creating four panels with three folds. They divide the story they're working on into four categories, one for each of the four panels: 1) Introduce a problem, want, or desire 2) Present obstacles 3) Climax 4) Resolution Even for adults, I pull out a box of markers and have them decorate their "mini-dummies." It's something fun to show, but it also helps them define the key components of their stories. What a great exercise for picture book writers! Can you share how you were drawn to the writing side of picture book creation?
My journey into writing is an ironic one. I was identified as an artist at a very early age. So when the writing showed up a little later, it wasn't given much credence. After all, you only get 'One Thing,' right? However, my drawings were always illustrations of the stories filling my head, and I wrote in my drawing pads too--poems, stories, you name it. I kept a diary for years (volumes and volumes), but I never really knew I was a writer until I finally dove into my dream of creating picture books full time. My first attempts were pretty awful, but then I started getting comments like, "She can obviously write," or "She's a beautiful writer." Those meant so much to me. And even though my first picture book as both illustrator AND author is now out, I'm not sure I feel like a 'real' writer yet. I'm not sure what will do it. It's kind of like with my illustrations. I was an in-house illustrator, making my living from my art for fifteen years. But I didn't feel like a 'real' illustrator until I traveled to New York for the SCBWI Portfolio Show at the Society of Illustrators. I joke that I circled the building seven times and pounded that New York pavement. After that trip, I finally felt like a bona fide illustrator.
Soap, Soap, Soap is a variation on a classic Appalachian Jack Tale. Can you tell us how you came to write this story?
I have long been a fan of the Jack Tales. Something about the Appalachians and the culture there has pulled at me my entire life. So when Raven Tree Press approached me to illustrate Paco and the Giant Chile Plant, a bilingual adaptation of "Jack and the Beanstalk," I jumped at it. Not only was it a Jack Tale, but it was my excuse to finally learn Spanish. (Raven Tree specializes in bilingual picture books.) Happily, Paco did very well for Raven Tree and they wanted another. I presented Soap to my publishers when they were in town for IRA and they flipped over it. However, the new tale fit better in a modern day setting. So Paco became Hugo, and the old Chihuahuan desert became a small town in South Georgia. The rest will, I hope, be a very happy and successful journey.
Do you have any suggestions for teachers on how they might use Soap, Soap, Soap in the classroom?
Yes! I've created an entire activity page on my Web site. It includes coloring sheets, puzzles, recipes, and other activities that can be used at home or in the classroom.
I'm also thrilled to share that the Alliance Theatre's Teaching Artists program has picked up Soap as one of their main books this season. They focus on the basic concepts of getting muddy and getting clean. For instance, where can you get mud on you? Your elbows, your knees, etc. What does mud feel like and smell like? Once you've gotten muddy, how do you get clean? Do you take a bath and scrub? Teachers are using Soap to introduce hygiene in their classrooms. Anastasia Suen has also posted a mini-lesson tying the book to a related topic of hand-washing and learning to stay clean--an important topic in this Swine Flu season.
Along with these basic ideas, Soap can be used with my previous (illustrated) picture book, Paco and the Giant Chile Plant (written by Keith Polette) to discuss how folktales evolve over time. Both books are adaptations of classic Appalachian Jack Tales that were passed down by word of mouth from generation to generation, from Cornwall, England to the Chihuahua desert in Mexico. Playing "telephone" is a great way to discuss how stories change and evolve as they travel from teller to teller and how stories can become uniquely our own when we tell them our own way.
Elizabeth, thanks so much for taking time to talk with us today.And special thanks for providing an autographed copy of your book for our giveaway. Readers who'd like to learn more about Elizabeth and her books can visit her Web site.
Instructions for entering our giveaway drawing are provided below. But first, you may want to watch the trailer for Soap, Soap, Soap ~ Jabón, Jabón, Jabón:
----- Now, for the contest requirements:
To enter for a chance to win an autographed copy of Soap, Soap, Soap in your choice of a bilingual or all-English edition, you must post a comment giving us the title of one of your favorite folktales, and the reason behind your choice. To qualify, your entry must be posted by midnight, Wednesday, Sept. 30, 2009 (CST). The winner will be announced on Thursday, Oct. 1, 2009. Be sure to provide an email address where we can reach you! See this post for our complete giveaway guidelines.
We look forward to reading your comments. Good luck, everyone! And don't forget to watch for another book giveaway coming VERY soon.
Carmela
7 Comments on Guest Teaching Author/Illustrator Interview and Another Book Giveaway!, last added: 10/1/2009
No need to enter me (although my daughter's teacher would love to hear about this book!). I'm dropping in to say thanks for the e-mail. I've got this posted at Win a Book.
Very interesting to hear the author's/illustrator's/teacher's perspective! My favorite folktales are "The Selkie Bride" and "The Sea-Morgan's Baby", two Irish folktales about the selkie or mer-people. "The Secret of Roan Innish", a favorite movie of mine from a few years back, is drawn from these tales. I love the selkie stories because they remind me of my grandfather, a Scots-Irish story-teller of the old tradition--wise women, people of the sea, lonely fisherman---its all there. Leanne :) [email protected]
mine would have to be The Little Match Girl. its a sad and beautiful story. scrapbook-crazy.com
Anonymous said, on 9/28/2009 8:24:00 PM
I love our 'Malin Kundang'. It's an Indonesian's folktales about a rebellious boy that had been cursed to a rock by his mother. The boy, when he became a wealthy son-in-law of a king, didn't want to admit that the woman's his mom because she was very poor. The rock is still exist till now. Anyway, i'm so happy to find this site coz my 3yos son will love the book :) Mariska uniquas at ymail dot com
One of my favorite folktales is Johnny Appleseed. I mean, where would all the apple orchards be that we are going to this fall without Good ole Johnny? :) Soap, Soap, Soap looks wonderful. Thanks for the interview! Margo Dill http://margodill.com/blog/
Great interview. As a child I loved all the old stories of Johnny Appleseed and Paul Bunyon. Recently though I have enjoyed reading some very different tales from other countries. "The Magic Porridge Pot" tells how things can turn out if you do something nice and the end leaves you guessing. For some reason I also enjoyed "The Starlight Cloak" even though it seemed to be a mix of 2 tales, Cinderella and Johah and the whale set in Ireland. Thanks for this wonderful site.
Mary Sandford said, on 9/30/2009 10:11:00 AM
Great interview! My fav folk tales are the Boy Who Cried Wolf and The little REd Hen, but I am sure you can tell by my favs I am not really into folk tales much. I do love it when other people write about them- Can't wait to read your book Elizabeth!
We recently received two issues of Storytime Magazine (Luma Works), a monthly British children’s magazine which launched in September 2014 with the tagline “Classic tales to read, love and share.” Each issue is filled with retellings of fairy tales and folktales, plus distillations of classic children’s novels (such as E. Nesbit’s “Five Children and It” in Issue 4 and Rudyard Kipling’s “The Jungle Book” in Issue 5). The stories are accompanied by colorful, often full-page illustrations as well as interactive moments inviting the reader to color a rainbow, count beans, find a specific flower, etc. Even more thematic activities and downloads are available at 
Storytime‘s retold short tales originate in a range of diverse cultures: Issue 4 features a Mayan quest story, an African tale about trickster Anansi, and a Cornish mermaid tale; Issue 5 includes an Aboriginal creation story, plus Greek mythology and an Aesop animal parable. The magazine format (complete with exciting cover blurbs: “Famous Fables! Four animals learn about friendship” and “Jungle Adventure! See how Mowgli escapes from Shere Khan”) gives the tales a fresh perspective, and the absence of advertisements keeps the focus on the stories themselves.
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Hi Gale,
I'm going to look for it. Congratulations! It's a big deal to be published in Highlights.
Gale - I would have to say YOUR retellings are my favorite folktales! btw...Grace has a subscription to Highlights and I opened it up and said "Hey, my friend wrote that!" I love this story!
Congrats. And love that ham story!
Linda, Robin and Marcia,
Thank you all for the generous comments.
Yes, I feel lucky to have been published twice in HIGHLIGHTS this year. Funny how stories can be held for years and then come out in quick succession.
Congratulations, Gale! You're building up quite the HighLights portfolio! My favorite folktales are ... yours!
And in honor of your newest publication, I'm going to take a nap!
Gale
Congratulations! I too always loved that re-told tale of yours about the bears! And you do have quite a record at Highlights!
Eileen
Congratulations on another published Highlights story Gale!
One of my favorites is the Musicians of Bremman, I think it's called. Old animals who are no longer useful leave their homes, and instead of finding new jobs, they find each other, and a new home. Irish folk stories are also interesting, but all depressing with dead heroes at the end. You've inspired me though - I might look into freshening one of those up (i.e., maybe the hero could live?)
Wish my kids still got Highlights so I could see it. I'll have to go to the dentist's office!
Congratulations.
J.A, Eileen, Julie and Meg,
Thanks for taking time to comment with congratulations.
Here's hoping J.A. had a good nap and Julie finds an Irish story she can lighten up. Yes, some of the Scandinavian tales are dreary also. Maybe the climate has something to do with it?