Morning Girl

BIBLIOGRAPHY

Dorris, Michael. 1992. Morning Girl. New York: Hyperion. ISBN 07681358X

PLOT SUMMARY

In Morning Girl, Dorris tells the story of a young Taino girl, Morning Girl, and her younger brother, Star Boy, who live on a Bahamian island in 1492.

CRITICAL ANALYSIS

The plot of this story is interesting because it explores a well-known story (the arrival of Christopher Columbus in the New World) from a unique perspective.  Morning Girl and her brother, Star Boy, are living normal day-to-day lives.  Readers familiar with the history of conquest in the Americas will read anxiously read this story, waiting for the inevitable disruption in these children’s lives.  The arrival of Europeans is only a brief moment of the story, but it is powerful to realize the magnitude of the impact their arrival will have on the community.

Each chapter in this story alternates between the perspectives of Morning Girl and Star Boy.  This allows readers to understand the motivation behind each of their actions in addition to allowing readers to form a deeper relationship with both characters.  Most readers will be able to relate to the characters.  Even though the story takes place more than 500 years ago, readers will be able to relate to the tension between siblings that takes place in Morning Girl.

Morning Girl takes place on an island in the Bahamas.  The vivid descriptions allow readers to easily visualize the setting.  The importance of family is a theme often explored throughout the story.  Morning Girl’s mother loses a baby and Star Boy goes missing during a hurricane.  During these events, Dorris relates the importance of the family members to each other.

Cultural markers are thoroughly integrated throughout this story.  Dorris excels at using metaphors from nature to add to his descriptions.  For example, Morning Girl describes the color of her skin: “tan as the inside of a yam after the air has dried it” (p. 31).  Later in the story, Star Boy has a conversation with dead ancestors.  Although a brief scene, it is a good example for readers of how the native belief system may differ from their own.  Dorris also does a good job of explaining daily life activities.  After the hurricane he describes how the families would build their houses and leisure activities that community members would take part in (p. 46-47).

This is a short story at only 74 pages.  There is a brief epilogue at the end of the story that includes an excerpt from the diary of Christopher Columbus.  Although the story is short, readers will quickly bond with the characters.  The abrupt ending will leave readers contemplating what happened next.

 REVIEW EXCERPT(S)

Horn Book Guide: “A book not to be missed.”

Kirkus Review: “Saddening, compelling--a novel to be cherished for its compassion and humanity.”

School Library Journal: “Dorris has written a reverberating story of coming-of-age, both for the two characters and for the world.”

CONNECTIONS

The following stories also tell about white conquest from a young American Indian perspective:

Scott O’Dell. Sing Down the Moon. ISBN 9780547406329

Jane Yolen. Encounter. ISBN 9780152013899

The Arrow Over the Door

BIBLIOGRAPHY

 

Bruchac, Joseph. 2002. The Arrow Over the Door. Ill. by James Watling. New York: Puffin Books. ISBN 0141305711

 

PLOT SUMMARY

 

In 1777, the American colonies are facing conflict in all directions and colonists fear attacks by both the British army and the Indians in the area. The Arrow over the Door tells the story of two young boys who have a meaningful meeting in a Quaker Meetinghouse.

 

CRITICAL ANALYSIS

 

Based on a true story, The Arrow Over the Door tells the story of a gathering between Quakers and an Abenaki Indian scouting party in 1777.  There are two main characters in this story.  Samuel Russell is a thirteen year-old boy living near Saratoga, New York.  Stands Straight is a young Abenaki boy.  The story is told from both of their perspectives, alternating between chapters.  Readers, especially young boys, will be able to relate to both characters.

 

Although the setting of this story is the American colonies, the setting is a minor detail to this story.  The historical context in which this story is placed is much more important.  Readers will benefit if they have a working knowledge of the American Revolution, but it is unnecessary.

 

In addition to telling about American Indian culture, this book also expands on Quaker culture, which is often underrepresented.  It is likely that children will be unfamiliar with Quaker history and this book would be helpful in introducing them to the topic.  Most notably, Bruchac includes accurate dialogue between Quaker characters.  The Quakers use a lot of thees and thous, for example.

 

Despite the Quaker cultural references, this book thoroughly explores American Indian cultural markers.  It is an accurate and respectful piece of fiction.  Near the beginning of the story, Bruchac describes Stands Straight:

 

“Though his trousers and his shirt were the kind that could be seen from Montréal to the Gaspé Peninsula, his long black hair, the brown color of his skin, and the Algonquin features of his handsome face revealed the fact that he was an Indian.  So did the moccasins and the leather pouch decorated with the beaded shape of a rabbit, which hung at his waist” (p. 11).

 

Stands Straight speaks both French and Abenaki, a result of being an altar boy.  This illustrates the French influence on the native population and his historically accuarate. 

 

The simple black and white illustrations by James Watling add to the story.  The illustrations show characters from both cultures in traditional clothing.

 

The Author’s Note at the end of the book adds to the historical accuracy of the story.  In the Author’s Note, Bruchac explains what historians think really happened during this event and he explains his personal connection to the story.

 

Overall, this was an interesting story.  At only 89 pages, it may appeal to reluctant readers, especially boys.

 

REVIEW EXCERPT(S)

 

School Library Journal: “With a surprising amount of drama and even suspense, this tale of pacifism triumphant makes a good choice for historical fiction collections.”

 

Booklist: “A truly excellent example of historical fiction for the middle-grade/junior-high audience.”

 

CONNECTIONS

 

Readers who enjoyed The Arrow Over the Door might also enjoy the following books by Joseph Bruchac:

 

Joseph Bruchac. Children of the Longhouse. ISBN 0140385045

 

Joseph Bruchac. March Toward the Thunder. ISBN 0142414468

Rainbow Tulip

BIBLIOGRAPHY

Mora, Pat. 1999. Rainbow Tulip. Ill. by Elizabeth Sayles. New York: Viking. ISBN 0670872911

PLOT SUMMARY

Stella is a Mexican-American girl who feels torn between two worlds.

CRITICAL ANALYSIS

Pat Mora is well-known for delivering culturally accurate stories and Rainbow Tulip does not deviate from this standard.  Stella, known as Estelita at home, is a young girl who feels different than the other children in her class.  Stella looks different than the other children and speaks a different language at home.  Her mother dresses differently than the other students’ mothers.  As the school May parade celebration approaches, Estelita/Stella embraces these differences.  Throughout this story, Mora celebrates diversity and presents the theme that being different can be a good thing.

Although this is a beautiful story and all readers will be able to appreciate it, young immigrant girls will be able to identify with the main character, Estelita/Stella, the most.  This group will understand the feeling of being surrounded by one culture at home, and another in public.  Although Estelita/Stella is proud of her different rainbow costume, she feels “quiet as a snail inside.”  This feeling especially will be familiar to many readers. 

Mora sprinkles Spanish phrases throughout this story.  Most of the words will familiar to readers, such as mamá or sí.  Words that may be unfamiliar, like abrazo, are translated within the text.  As Mora describes Estelita’s parents, her descriptions make them seem very reserved.  Estelit’s mother wears dark, traditional clothing.  Mora writes:

“My mother does not wear colors that sing and dance. My mother likes to wear black, brown, gray, sometimes light blue.  My mother is quiet like her colors.”

Estelita/Stella expresses embarrassment that her mother does not speak English or dress like the other mothers.  Estelita/Stella wishes that her mother “looked like the other mothers with their makeup and short dresses.” 

The oil-pastel illustrations in this story are soft and bright.  Sayles expresses emotion through her illustrations by depicting different postures and facial expressions.  Sayles has also created culturally accurate illustrations by using appropriate skin tones and hair colors.

At the end of this story, Mora has included a brief author’s note.  In this note, she reveals that Rainbow Tulip is based on her mother’s experiences in a May parade in El Paso, Texas during the 1920s.  Mora also expresses the importance of celebrating family heritage within her comments.

Rainbow Tulip is suggested for students in grades 3-6.  Although they may not understand some of the deeper implications of this story, younger readers will enjoy this story and accompanying illustrations.

REVIEW EXCERPT(S)

Booklist: “What many immigrant kids will enjoy is the bicultural experience. The scenarios in words and soft-toned pictures show the warm, loving family and also the fun and success at school. At first, the child is ashamed of her quiet, old-fashioned mother, but her parents keep a piece of Mexico at home, and Estelita/Stella comes to value her dual heritage, even though it is hard to be different.”

Library Journal: “Based on a story from the author's mother's childhood, and perfectly extended by soft, warm pastel drawings framed in white, this tale of family love and support crosses cultural boundaries and may remind youngsters of times when their families made all the difference.”

Kirkus Review: “Sayles's softly colored illustrations, by turns wistful and vibrant, capture the times and the tone as a young child finds her place in her parents' new country.”

CONNECTIONS

The following picture books from Pat Mora offer similar cultural themes:

Pat Mora. A Birthday Basket for Tía. ISBN 0689813287

Pat Mora. Pablo’s Tree. ISBN 0027674010

Before We Were Free

BIBLIOGRAPHY

Alvarez, Julia. 2002. Before We Were Free. New York: Alfred A. Knopf. ISBN 0375915443

PLOT SUMMARY

Told from the perspective of twelve year old Anita, Before We Were Free is the story of Anita’s experiences under the Trujillo regime.

CRITICAL ANALYSIS

In 1969, many things are happening in the Dominican Republic that young Anita de la Torre cannot explain.  Her family members are disappearing and Anita knows she is not being told the entire story.  Gradually, Anita discovers more information that leads her to believe that her family is involved in a secret plot to overthrow General Trujillo. 

Young readers, especially girls, will be able to relate to Anita.  Before We Were Free is told in first-person and Anita is a likeable character.  Readers will be able to understand Anita’s feelings of frustration when her family does not tell her the entire story.  In addition to Anita’s dramatic experiences under the Trujillo regime, Anita experiences things that any girl does, like having a crush on a boy, fighting with her sister, and starting her period. 

The importance of family and freedom are prominently featured throughout this story.  The de la Torre family is willing to do almost anything for each other.  The family must remain courageous through everything they face.

In addition to Dominican culture, readers will learn a bit about Haitian culture through the character of Anita’s maid, Chucha.  Chucha adds more intrigue to the story and is almost able to see the future. 

Spanish phrases are sparsely scattered throughout this story.  Physical descriptions include the mention of dark hair (p. 59).  When Anita and her sister, Lucinda, talk their American neighbor into having a quinceañera celebration, readers will learn about how important this celebration is in Hispanic culture. 

Before We Were Free focuses on life under the Trujillo regime.  This story is so interesting that it will prompt readers to learn more about Dominican history.  Alvarez explains the history just enough to leave readers wanting to know more. 

At the end of the story, Alvarez includes a brief author’s note that details her personal experiences under the Trujillo regime.  This addition makes this work of fiction more significant.

                                                                                                                                                      

REVIEW EXCERPT(S)

Horn Book Guide: “This is a compelling account of a girl growing up too quickly while coming to terms with the cost of freedom.”

School Library Journal. “Readers will be convinced by the voice of this Spanish-speaking teenager who tells her story entirely in the present tense. Like Anita's brother Mundín, readers will bite their nails as the story moves to its inexorable conclusion.”

Publisher’s Weekly: “Alvarez conveys the hopeful ending with as much passion as suffuses the tragedies that precede it. A stirring work of art.”

CONNECTIONS

Readers interested in Anita’s experience might enjoy the following stories that also have young protagonists who are growing up under dictatorships:

Lyll Becerra de Jenkins. The Honorable Prison. ISBN 0525672389

Beverley Naidoo. The Other Side of Truth. ISBN 0064410021

Jesse

BIBLIOGRAPHY

Soto, Gary. 1994. Jesse. San Diego: Harcourt Brace & Company. ISBN 9780152403296

PLOT SUMMARY

During his senior year in high school, Jesse leaves home to attend community college and live with his older brother, Abel.  The two brothers experience economic hardship and struggle to find their place in the community.

CRITICAL ANALYSIS

This story takes place during the Vietnam War.  Although Jesse is too young to be drafted at the beginning of the story, the threat of the war is always in the background.  It will be helpful for readers to have background knowledge of the war, but it isn’t necessary.  The Chicano movement in California is also heavily featured throughout this story.  Knowledge of this movement will be helpful as well.  The story will be less meaningful for readers who are unfamiliar with César Chávez or Dolores Huerta.  There are several political references throughout the book and a working knowledge of these concepts will be useful.  Soto expertly addresses these issues in addition to the poverty that Jesse and Abel, like other migrant workers, faced.  Although this story is a work of fiction, Soto clearly explains an important time in Chicano history.

Because this protagonist in this story is male, male readers may identify more with this story than female readers.  Despite the difference in time periods, Jesse is a relevant character to young readers today.  Many of my students have experienced hardships similar to those experienced by Jesse in this story and will easily be able to relate to Jesse.  The history of the poor, Latino, migrant worker is not a story often written.  Jesse fills a gap and is a valuable story.

Jesse takes place in southern California.  The setting is important because there was a large Latino population in the area during the 1960s and1970s.  In addition, migrant workers played an important role in the agricultural economy of California.  Poverty is the most prevalent theme of this story, but other themes include the themes of prejudice, tolerance, and the importance of family. 

Soto includes cultural markers throughout Jesse.  Soto has expertly woven them into the story and they absolutely authenticate and add to the story.  The most obvious cultural marker is the addition of Spanish phrases throughout the story.  The meanings of the phrases are obvious in the context of the story and non-Spanish speaking readers will understand them.  The addition of these Spanish phrases accurately depicts how common it is for bilingual people to switch between languages.  Additionally, many of the words are slang (such as gavachos), and are indicative of a lower socioeconomic class, such as the characters in Jesse.  Many of the foods mentioned in the story are traditionally Hispanic.  For example, Jesse and Abel’s mother often makes them tortillas throughout the story and Jesse is eating mole on p 57.  Other non-Hispanic foods are mentioned using their Spanish name. such as huevos.  Although most descriptions of clothing are traditionally American (bell-bottoms, turtlenecks, etc.), Soto’s descriptions of Jesse’s friend Raul include traditionally Mexican clothing, such as huaraches and a serape.  Raul is involved with the Chicano movement so more traditional clothing fits his character well.  The absence of this traditional Mexican clothing for the other characters shows that not all Mexicans are constantly wearing serapes. 

Jesse is a beautifully written story.  Although the absence of hope was an accurate sentiment for many people similar to Jesse, I found the ending to be sad.  After connecting with a character, it was disappointing to realize that Jesse was unlikely to better his situation.  This feeling, however, makes the reader realize how many people are stuck in similar situations, with little opportunity to improve.

REVIEW EXCERPT(S)

Horn Book: “Soto captures Jesse's tentative forays into adulthood and depicts the lives of Mexican Americans in southern California during the Vietnam War era's cultural and political turbulence. A moving, engrossing novel that has strands of both humor and despair.”

Kirkus Review: “The mere depiction of this teen's life, and his attempts to better himself, are a far greater indictment of racism and class distinction than any finger-pointing sermon could be. A satisfying and enlightening story.”

School Library Journal: “Readers looking for a finely written, contemplative narrative will appreciate this work.”

CONNECTIONS

The following coming of age stories will appeal to readers who enjoyed Jesse:

Sandra Cisneros. The House on Mango Street. ISBN 0679734775

Gary Soto. Buried Onions. ISBN 0152062653

Copper Sun

BIBLIOGRAPHY

Draper, Sharon M. 2006. Copper Sun. New York: Simon Pulse. ISBN 9781416953487

PLOT SUMMARY

Copper Sun tells the story of a young African girl, Amari, who is ripped from her homeland and sold into slavery.  Her life is changed instantly when slave traders invade her village.  After an atrocious trip across the ocean, Amari arrives in the Carolinas where she is sold to Mr. Derby as a gift for his sixteen year-old son.  Copper Sun details her experience as a slave and her later escape from slavery.

CRITICAL ANALYSIS

There have been many historical fiction novels that explore slave life in the early United States.  Few, however, detail the emotions of capture and subsequent enslavement as well as Sharon Draper’s Copper Sun.  The story begins with the main character, Amari, in Africa.  Readers will understand what life was like for her before she was captured.  Draper quickly describes how strong Amari’s love was for her family, which makes the loss of them even more devastating.  Throughout the story, Draper is able to expertly explain the horrors of slavery while maintaining an age appropriate frankness.

As a reader, I enjoyed the contrast between the two main characters, Amari and Polly.  On the surface, it appears that they have few things in common.  Throughout the story, they realize just how much in common they do have.  The history of indentured servants is frequently minimized in the retelling of our nation’s history.  The character of Polly gives a face to this situation and children will learn that white people also experienced a form of enslavement.  Amari and Polly are both about fifteen years old.  As a result of their young ages, readers will be able to relate to the girls’ experiences.

Draper excels at creating a clear setting for this novel.  The story takes place in several different locations, but Africa, the slave ship and the Derby plantation are the most memorable settings.  Of these three places, Draper described the conditions on the slave ship the best.  The conditions were undeniably crowded and harsh, but readers will have a good understanding of just how horrific the conditions were.  After explaining how the men were stacked up like logs, Draper describes how disgusting the ship was:

“The men on the bottom were splattered with the blood of the men who had been beaten, as well as the vomit and urine and feces that the men chained above them had no choice to eliminate where they lay” (43).

The conditions were undeniably crowded and harsh, but readers will have a good understanding of exactly how horrific the conditions were. 

The themes of endurance and hope are constants in this story.  Despite all of the hardships that Amari and Polly face, they remain determined to better their situation.  During the voyage to the Carolinas, Amari forms a relationship with an older woman, Afi.  Afi encourages her to stay hopeful and these thoughts remain with Amari during her enslavement.  Later, Amari and Polly are mentored by a slave woman, Teenie.  Teenie encourages Amari to remember her past saying “Long as you remember, chile, it ain’t never gone” (109).

Copper Sun is written from the perspective of both Amari and Polly.  This contrast allows for readers to better understand the prejudices on both sides.  This stylistic element increases the impact that Copper Sun will have on readers. 

Cultural markers are included throughout this story and it would be impossible to mention all of them.  Draper explains the role of women in Amari’s village of Ziavi, writing that “Tomorrow the women would dye the yarn, and when it was ready, her father, a master weaver, would create the strips of treasured fabric on his loom” (4).  Later, Draper emphasizes how important music and storytelling are to the culture.  After Amari is sold and begins living on the Derby plantation, Draper explains how ingrained racism was in society.  Throughout the story, she includes dialogue between whites that shows how slaves were viewed.  For example, Clay Derby says, “Slavery just makes good sense to me.  Anyway, our slaves are better off here than in some jungle eating bugs and slugs like savages” (143-144). 

The complexity of the relationships between the two races comes to a climax with the relationship between Mrs. Derby and her slave, Noah.  Although this particular situation may be difficult to read, Draper captures just how multifaceted the relationships between owners and slave could be.  Another difficult scene to read was the one where Tidbit was used as alligator bait.  As a mother, this scene was powerful to me because I could imagine my child in that situation.  Younger readers will be able to relate to how scary that would be and understand how vicious some slave owners were capable of being.   

At the end of the story, Draper includes an Afterword, extensive bibliography, and discussion questions.  These elements add to the authenticity of the story and it is obvious that Draper conducted years of research.  Although this story is historically accurate, its content is difficult and rape is mentioned repeatedly.  Most reviews recommend Copper Sun for grades 8 and up.

By creating a likeable character like Amari, Draper is able to put a face on this experience and make it more personal.  As a result, this story makes the history of slavery more horrifying to readers than it may be if they were reading a nonfiction account of the slave trade.  This is a powerful and engaging story that I highly recommend.  After connecting with the characters, I was sad when the story ended.  Copper Sun would be an excellent foundation for a series.  It would be interesting to discover what happened to the characters and future generations.

REVIEW EXCERPT(S)

School Library Journal: “This action-packed, multifaceted, character-rich story describes the shocking realities of the slave trade and plantation life while portraying the perseverance, resourcefulness, and triumph of the human spirit.”

Booklist: “Draper builds the explosive tension to the last chapter, and the sheer power of the story, balanced between the overwhelmingly brutal facts of slavery and Amari's ferocious survivor's spirit, will leave readers breathless, even as they consider the story's larger questions about the infinite costs of slavery and how to reconcile history.”

CONNECTIONS

The following award-winning novels about slavery might appeal to readers who enjoyed Copper Sun:

Mary E. Lyons. Letters From a Slave Girl: The Story of Harriet Jacobs. ISBN 9780689800153

Gary Paulsen. Nightjohn. ISBN 9780440219361

 

Black Cowboy, Wild Horses: A True Story

BIBLIOGRAPHY

Lester, Julius. 1998. Black Cowboy, Wild Horses: A True Story. Ill. by Jerry Pinkney. New York: Dial Books for Young Readers. ISBN 0903717873

PLOT SUMMARY

Bob Lemmons is a black cowboy who tracks wild mustangs and captures them.  Black Cowboy, Wild Horses focuses on Lemmons’ attempts to corral a particular herd of mustangs.  Before overtaking the herd, Lemmons must first join the herd before challenging the stallion.  Black Cowboy, Wild Horses is based on a true story, but Lester does not overwhelm to reader with historical facts. 

CRITICAL ANALYSIS

Bob Lemmons was a former slave whose mustang tracking skills were legendary.  Besides the brief mention of other cowboys, Lemmons is the only human character in this story.  The rest of the characters are the horses.  Lester refrains from assigning anthropomorphic characteristics to the horses which allows the story to remain realistic.  Throughout the story, Lester is able to convey how deep the bond is between Lemmons and his horse, Warrior.  The two are able to communicate easily without the use of words.

Although this story is factual and not a tall tale, the style in which it is written gives it the feeling of a tall tale.  Metaphors are used extensively.  A review from School Library Journal states that “Lester's overuse of metaphor is … a drawback.”  I strongly disagree with this review.  I found the language of the story to be a perfect match for the magnificence of the mustangs.

The figurative language matches well with the beautiful illustrations that Pinkney has created.  Disappointingly, the story is presented in opaque text boxes that obstruct some of Pinkney’s illustrations.  The story’s artwork was created using pencil, gouache, and watercolor on paper.  While I enjoyed the story, the illustrations stole the show.  The illustrations are indicative of Pinkney’s style and are absolutely beautiful.  Pinkney is able to capture movement and emotion with his art.  On some pages, the clouds are in the shape of horses running.  This is not done in a whimsical way and it adds to the beauty of the story.

Pinkney accurately presents Lemmons as a black man in the illustrations.  Other than the brief mention of his status as a former slave and his inability to read, the story does not focus on the color of his skin.  Lester and Pinkney both include insightful notes at the end of the story.  Pinkney states that “one out of three cowboys was black or Mexican.”   These notes add to the historical accuracy and significance of this story.

This story may be too long for very young readers, but older children (especially boys) will enjoy both the story and the illustrations.  Because this story is based on fact, it would be a wonderful addition to a lesson on the Wild West.

REVIEW EXCERPT(S)

Booklist: “Pinkney's earth-colored gouache and watercolor paintings add the look of the Texas plains to Lester's account and capture the energy of the horses as they gallop across sweeping, double-page spreads. Lester and Pinkney's manifest love and respect for the West and cowboys of color, whose contributions have been too long overlooked, distinguish their latest collaboration.”

Kirkus Review: “The text is ably matched by Pinkney's big, dappled watercolor scenes of open prairie and muscular, galloping horses. Lemmons may not have the name recognition of Nat Love or Bill Pickett, but his exploits were no less spectacular.”

Publisher’s Weekly: “Lester studs his seamless prose with powerful descriptions, such as when a hawk is "suspended on cold threads of unseen winds," or the mustangs sweep toward the corral as "a dark surge of flesh flashing across the plains like black lightning." The fluid brushwork of Pinkney's watercolors seem tailor-made for the flow of muscle, mane and tail of wild mustangs galloping across the prairie. Notable for the light it sheds on a fascinating slice of Americana, this book is essential for anyone interested in the Wild West.”

CONNECTIONS

 

These related books might interest young readers:

Andrea Davis Pinkney. Bill Pickett: Rodeo-Ridin’ Cowboy. ISBN 0152021035

 

Lillian Schlissel. Black Frontiers: A History of African American Heroes in the Old West. ISBN 9780689833151