The McElderry Book of Greek Myths

The McElderry Book of Greek Myths

By: Eric A. Kimmel










BIBLIOGRAPHY

Kimmel, Eric. 2008. The McElderry Book of Greek Myths. Ill by Pep Montserrat. New York: M.K. McElderry Books. ISBN 1416915346

PLOT SUMMARY

This well thought-out anthology includes 12 popular Greek myths, retold in the precise style of Eric Kimmel with the illustrative talents of Pep Montserrat. Represented are familiar characters such as Prometheus, Pandora, Arachne, King Midas, Icarus, and Medusa as well as others. This child friendly collection is an excellent primer on some of the most well-known Greek myths that are represented and referenced in current young adult literature.

CRITICAL ANALYSIS

Eric Kimmel has taken 12 popular Greek myths and retold them in a direct, precise manner. The conversations between characters are concise and move the story along. It is printed in a pleasing font that is neither too big, nor too small. Each of the stories are told in a 3 - 10 page range, including illustrations. The highly moralistic re-tellings do so in such a manner that the themes resound without preaching.

The illustrations of Pep Montserrat are a perfect match for the re-tellings of Kimmel. His images and artwork touch on Ancient Greek design motifs, and the style with which he creates his characters is exciting, fitting with that of the author. The images are computer generated and tend to favor hues of strong blues, reds, greens, and browns that all meld well together. The layout of illustration and text is obviously well thought out, with a combination of full page spreads, text enmeshed with a two page illustration, and small, well-placed individual illustrations such as the one of Pygmalion and Galatea on the final page of their myth.

As an anthology, this is a successful offering. The table of contents reveals a layout of myths that makes sense in its order. While there are no source notes included, the myths are familiar enough to the readers that will pick it up. The illustrations integrate with the text and extend the meaning beyond. The length of each myth lends itself quite easily to being a read-aloud between parent and child with the parent, perhaps, omitting some of the more violent passages for those with delicate sensitivities. The re-telling of "Pandora's Box" and "Pygmalion and Galatea" were particularly well put together for a read aloud session. Eric Kimmel has done a wonderful job re-telling these perennial favorites from Greek mythology and, paired with the talented illustrations of Pep Montserrat, created an enjoyable anthology for children and adults alike.

REVIEW EXCERPTS/AWARDS

*Best Children's Books of the Year, 2009, Bank Street College of Education
*Storytelling World Award, 2009, Honor Book Storytelling Collections

*Starred review in Children's Literature..."Gods and goddesses powerful and benevolent, men and women wise and foolish, and fierce monsters fill the pages of this book. Familiar Greek myths are retold in language that is both dramatic and simple. Included are the stories of "Pandora's Box", "King Midas and the Golden Touch", "Persephone and Hades", "Jason and the Golden Fleece", and "Daedalus and Icaris". The stories are abridged, but the telling is smooth and natural with lots of tension and action to hold the attention of the reader or listener. Kimmel weaves his dry and clever wit into the tales while retaining their dignity. The computer generated illustrations reflect the design motifs of Ancient Greece and facial expressions convey a wealth of emotions from the devilish, wicked Hades to the smitten lovers Pygmalion and Galatea. The careful wording of the text, the size of the font, and the placement of the colorful illustration show that meticulous care has been given to make this book a worthy addition to mythology collections."

*Starred review in Booklist..."These accessible retellings of Greek myths form the third entry in the McElderry Books Collection, which also includes volumes of Grimms' fairy tales and Aesop's fables. Kimmel uses spare, direct language and lots of exciting action in his short selections, and passages of dialogue among the characters add to the ancient stories' sense of immediacy. On every page, Montserrat's stylish computer-generated artwork picks up on ancienct Greek design motifs and creates memorable charactes from the mythical archetypes--from sword-wielding soldiers to Medusa and her writhing, poisonous snakes. The organization is thoughtful: the myth of Prometheus, who filled the world with living creatures and gave humans fire, is the first entry. And Kimmel begins the collections with solid answers to the question, "Why bother retelling these ancient stories?" One disappointment: there are no source notes. Give this to readers older than the target readership, especially those seeking a quick overview of myths referenced in recent novels, such as Rick Riordan's The Lighting Thief."

CONNECTIONS

*Have students imagine they are a hero of Greek mythology, preparing for a journey. Before they go, they must order their necessary supplies. Have them write a letter to Heroic Discount Supplies, 744 Olympian Way.

*Guide a values discussion on heroes. The heroes of mythology are often portrayed as having great strength and raw courage in the face of danger. Compare that to present day. Discuss and have them write about "Who is your hero...and why?" They can also prepare a presentation, if so desired.

*Create character cubes on their favorite character from Greek mythology. Each side of the cube is filled in with notes or illustrations of their character (their feats, descriptions of, facts regarding...)

*Allow the students to work in small groups to act out a Greek myth of their choosing. They can create props, backdrops, and costumes accordingly.

The Lion & The Mouse

The Lion & The Mouse

By: Jerry Pinkney











BIBLIOGRAPHY

Pinkney, Jerry. 2009. The Lion & The Mouse. New York: Little, Brown, and Co. Books For Young Readers. ISBN 0316013560

PLOT SUMMARY

This highly visual interpretation of the classic fable by Aesop is as rich with imagery as it is short on words. Almost completely without text, this book beautifully relies on the skilled illustrations of the author to relay the story of the king of the jungle that is rescued by the smallest of his subjects. When the lion lets the mouse go instead of having him for lunch, the mouse is effusive in his thanks, and promises to help the lion if ever he can. While the lion finds this laughable, it isn't too long before the lion finds himself trapped in a hunter's net. It is the mouse who gnaws through the ropes and saves the mighty lion, proving that even the smallest friend is worthwhile.

CRITICAL ANALYSIS

It is all about the illustrations in this book. Jerry Pinkney has thoughtfully and masterfully re-told the Aesop's fable of the lion and the mouse using few words and, instead, letting his illustrations speak for themselves. The characters are depicted expertly in his palette of ambers, browns, and blue-greens. The illustrations vary from double paged spreads to both framed and unframed images that immediately guide the reader's perspective as necessary. The vastness of the Serengeti setting is alternated with the perspective of an individual character, such as the mouse moving among the tall grasses. One of the strongest visuals of the difference in size between the lion and the mouse is on the title page, as the mouse rests in the pawprint of the lion. It is this ability to change perspective, portray character's emotions, and move the story along with such attention to detail that will draw the reader in.

The characters here are not the typical "good versus evil" associated with fairy tales and fables, but more they are "strong compared to the weak". The idea that the tiny mouse would ever be able to be of assistance to the mighty lion would seem laughable, but the story fulfills the theme of kindness, charity, and even the smallest friend being a worthwhile friend. It also touches on the Golden Rule that says to treat others the way you would like to be treated.

The reader will get their happy ending, however, on the final endpapers of the book, as Jerry Pinkney shows the lion walking with his family while carrying the mouse family on his back. There is a lot to be said for books without words and the possibilities they hold to readers!

REVIEW EXCERPTS/AWARDS

*Caldecott Medal Winner, 2010
*Parents' Choice Award, 2009
*Oppenheim Toy Portfolio Award, 2009
*New York Times Best Illustrated Children's Book of the Year, 2009
*National Parenting Publications Award, 2009
*Indies Choice Book Award, 2010
*Cybil Award, 2009
*Boston Globe-Horn Book Award for Excellence in Children's Literature, 2010

*Starred review in Children's Literature..."Aesop's classic fable tells the story of a mouse that disturbs the rest of a great lion yet miraculously survives. The beast's mercy turns out to be a good decision, for soon the lion finds himself in a similarly perilous situation. The mouse, remembering the respect and generosity he was shown, goes to repay the favor and ends up saving the lion from the clutches of death. This story of the strong helping the meek and the eventual reversal of roles illustrates the triumphant ability of treating others how you wish to be treated. The lion shows the mouse the kind of respect he gives to all other living creatures, no matter how big or small, and it ends up being very beneficial to him in the end. Pinkney's wordless interpretation of the traditional story does a great job of showing the relationship of the mouse to the lion. Even with only the pictures and their beautiful colors the story and the character interaction is extremely easy to read. Pinkney uses his own style and talent to show how mutual respect can benefit all in the end."

*Starred review in Kirkus Reviews..."A nearly wordless exploration of Aesop's fable of symbiotic mercy that is nothing short of masterful. A mouse, narrowly escaping an owl at dawn, skitters up what prove to be a male lion's tail and back. Lion releases Mouse in a moment of bemused gentility and-when subsequently ensnared in a poacher's rope trap-reaps the benefit thereof. Pinkney successfully blends anthropomorphism and realism, depicting Lions' massive paws and Mouse's pink inner ears along with the expressions encompassing the quizzical, hapless, and nearly smiling. He plays, too, with perspective, alternating foreground views of Mouse amid tall grasses with layered panoramas of the Serengeti plain and its multitudinous wildlife. Mouse, befitting her courage, is often depicted heroically large relative to Lion. Spreads in watercolor and pencil employ a palette of glowing amber, mouse-brown, and blue-green. Artist rendered display type ranges from a protracted "RRROAARRRRRRRRR" to nine petite squeaks from as many mouselings. If the five cubs in the back endpapers are a surprise, the mouse family of ten, perched on the ridge of the father lion's back, is sheer delight."

CONNECTIONS

*As an introduction, students can watch an interview with Jerry Pinkney on YouTube. There is a three minute clip in which he discusses The Lion & The Mouse.

*As another introduction, or a possible end-of-unit piece, there is a poem by Paul King that retells the story of the lion and the mouse. It can be read for comparison, or simply for enjoyment!

The Lion and the Mouse
(after Aesop)

Lion lies sleeping, silent and still,
Along comes a mouse and thinks he’s a hill.
Up the great body the little mouse goes,
Through mane, across ear, and down Lion’s nose.

But Lion wakes up and gives a great roar,
Catches poor Mouse in his long cruel claw.
“How dare you walk over your king and your lord!
For this only death shall be your reward.”

The little mouse shivers and shudders with fright,
Tries hard to think how to put things a-right.
“Forgive my mistake, mighty Lion, I pray,
And I promise to help you too some day.”

At this Lion laughs and shakes to and fro,
But he’s now in good humour and lets the mouse go.

Days come and days go, and some hunters pass by
Who set a great lion-trap cunning and sly.
Lion walks in, unaware of the threat,
And suddenly finds himself caught in a net.

Frustrated he roars with wrath and despair;
Little Mouse hears how he’s caught in a snare.
She remembers her promise and runs without pause
To the spot where the Lion so rages and roars.

Her sharp little teeth set to gnawing the rope,
Thread after thread, now the Lion feels hope.
Soon there’s a hole and the Lion is freed.
The Mouse has kept her promise indeed!

Paul King

*Guide the students in writing their own text based on the illustrations in the book. Begin by modeling one or two pages for the class, and then have them complete in small groups.

*Students can practice the skill of inferencing, based on illustrations. Using the format "When I see the illustration...I think (inference)...because (background knowledge)" This can be used in any subject.

*Study other award winning picture books, and discuss how the author/illustrator tells the story without any words. Examples include...

A Ball For Daisy by Chris Raschka (Caldecott Winner) ISBN 037585861X

Chalk by Bill Thomson (Cybil Award Finalist) ISBN 0761455264

Sector 7 by David Wiesner (Caldecott Winner) ISBN 0395746566

Time Flies by Eric Rohmann (Caldecott Winner) ISBN 0517885557

Zoom by Istvan Banyai (White Raven Award) ISBN 0140557741

The Red Book by Barbara Lehman (Caldecott Winner) ISBN 0618428585

*Discuss the concept of "All In The Family". Jerry Pinkney is married to another illustrator, Gloria Pinkney. Their son, Myles Pinkney, is a fantasy and science fiction artist. Myles is married to Sandra Pinkney, also an author of children's books. Brian Pinkney is married to Andrea Davis Pinkney, and they are both award winning authors and illustrators of children's books. The fact that this much talent exists in one family is, well, pretty amazing. Students can study these authors/illustrators individually or as a whole. Are there any resemblances in their work?

The Three Little Javelinas

The Three Little Javelinas

By: Susan Lowell








BIBLIOGRAPHY

Lowell, Susan. 1992. The Three Little Javelinas. Ill. by Jim Harris. Flagstaff, AZ: Northland Publishing. ISBN 0873585429

PLOT SUMMARY

In this Southwestern version of the well known tale, three little javelinas set off to find their fortune. Javelinas are related to swine, but are not true pigs. They do, however, have very hairy chinny chin chins! The author depicts the beauties of the locale by having the characters build their homes out of tumbleweed, saguaro cactus ribs, and adobe bricks, respectively. The wolf in this story is, instead, the trickster coyote. He meets with a similar fate to his predecessors in earlier versions of the Three Little Pigs stories, except in this case it is used to explain why the coyote still howls to this day.

CRITICAL ANALYSIS

Susan Lowell has crafted a nifty version of the familiar Three Little Pigs story that is a wonderful addition to any classroom library or fairy tale unit. Her characters are the epitome of innocence as they wander out into the world dressed to the nines in their western gear. They are simple characters wanting nothing more than a good shelter, but the trickster coyote (here representing the wolf of old) is lurking in the desert. The author, having chosen the desert as the setting, is wisely paired with an illustrator who can convey that through every detail on the page. We see tumbleweeds, cactus, and desert landscaping in a rich palate of browns, yellows, and greens. Jim Harris' depictions of the javelinas are endearing in nature and highly detailed, with authentic "cowboy" touches added in for good measure.

The theme of good versus evil is prevalent in this tale as the Coyote attempts to eat Javelina #1, #2, and finally, #3. Of course, good wins again! The reader will pick up on the use of magic in this story as well when Coyote makes himself smaller to fit down the stovepipe, and the number 3 is ever popular throughout. This story also seeks to explain, in a funny yet sensible way, the beginnings of why the coyote howls.

The author has a firm sense of style, as this is a highly stylized version of the Three Little Pigs. It, of course, begins with "Once upon a time" and ends with "...and they all lived happily ever after", but it's the in-between that is unique. While the setting is described as Southwestern, it is written in such a way that it could logically be any dry area in Texas, New Mexico, Arizona, California, or Mexico. Susan Lowell draws in Native American and Spanish culture through the javelinas interacting with Desert People and the brick-maker. This is a reality, as the local Tohono O'odham tribe build brush shelters, sticks and mud ramadas, and mud adobes.

This book is also available in a version where the Spanish text is printed on the same page as the English, thus making it available and pertinent to a larger group of readers. The author takes the time to write an explanatory note at both the beginning and end of the story, with extra information regarding the environment in which the story is set and the culture which it attempts to depict. Overall, Susan Lowell has done a fantastic job creating a true cultural variant of the Three Little Pigs story and, paired with Jim Harris' illustrations, what is sure to be a class favorite!

REVIEW EXCERPTS/AWARDS

*Recommended Literature: Kindergarten through Grade Twelve, 2002; California Department of Education

*Mockingbird Award, 1993-1994; Nominee, Texas

*Listed as part of the Reading Rainbow Series

*Starred review from Publisher's Weekly..."In this retelling of The Three Little Pigs set in the American Southwest, the cherished porkers are transformed into javelinas, the hairy, swinelike creatures also known as peccaries. Their pursuer, no longer the wolf of traditional lore, becomes Coyote, that ubiquitous Southwestern trickster. In her first book for children, Lowell spices the story with elements of Native American, Mexican, and Old West culture. Javelina No. 1 builds his house of tumbleweed, while his brother relies on saguaro ribs. Twice Coyote huffs and puffs and the lightweight dwellings fall, but the peccaries are saved by their resourceful sister, who has had the foresight to build her home of stout adobe bricks. This clever and flavorful change of scene puts a diverting spin on an old favorite. Harris's lively, finely detailed illustrations, with the bristling, pink-nosed peccaries clad in cowboy outfits, amusingly contrast the villain's vigorous wiles with the title characters' cozy domesticity. Sprightly fun."

*Starred review from Children's Literature..."Most kids know the Three Little Pigs, so try this Wild West version of an old fable. Scurrying from a tumbleweed shack to a sagauro rib hut to an adobe brick house, three pint-sized wild pigs try to outwit a huffing, puffing big, bad coyote. Life lessons on preparation, teamwork, and common sense make this a good reminder for intermediate students."

*Starred review from Parent Council..."A Southwestern adaptation on the Three Little Pigs. Wonderful, funny illustrations enliven this familiar text that is a delightful introduction to a blend of Native American, Mexican, and Anglo cultures. Unfamiliar words have pronunciation in (). Introduction and message at end of story greatly add to informational content and enjoyment of this new version for the 3-8 year old."

CONNECTIONS

*Students can learn more about the desert, where this story takes place. This might include researching about landforms, climate, plants, and animals. The class can also study what adaptations people and animals have made in order to live in such a climate.

*Students can write a "Shape Poem". Have them imagine the twirling whirlwind, rolling tumbleweed, rays of the hot sun, or the adobe house. Assist them in brainstorming describing words or phrases. Then they write the poem about the image they have chosen, and after that they draw that particular shape around their poem.

*For a modern writing twist, have the students practice summarizing as if they are one of the characters writing Facebook updates or Tweets. In sequential order, have students create Facebook posts that are 420 characters or less, or Tweets limited to 140 characters. An example might be..."Coyote is on the roof. Coming down the stove pipe. He won't like what's waiting."

*There is a web link listed below where the illustrator, Jim Harris, talks about illustrating this book. The students can watch the short clip to gain more insight into what an illustrator does and the processes they use.
http://jimharrisillustrator.com/ChildrensBooks/Books/Thethreelittlejavelinas.html

*YouTube has a 20 minute segment (in two pieces) on this story. The Southwest String Quartet does a reading and musical interpretation of the story that is really cool to listen to. Each member of the quartet "plays" a different character in the story. This would be an exciting closing activity. From the YouTube page, search "the three little javelinas".

The Invention of Hugo Cabret

The Invention of Hugo Cabret
By: Brian Selznick












BIBLIOGRAPHY

Selznick, Brian. 2007. The Invention of Hugo Cabret. New York, NY: Scholastic Press. ISBN 0439813786

PLOT SUMMARY

Huge Cabret is an orphaned 12 year old boy living in the walls of a Paris train station and charged with keeping the clocks in working order. His obsession with reconstructing an automaton he'd been working on with his recently deceased father leads him to cross paths with a grumpy toy shop owner and his goddaughter. While struggling to keep his own secrets and appearances, Hugo and the girl find they have more in common than they realize, and their lives intertwine in a fantastic, cinematic ending.

CRITICAL ANALYSIS

Selznick has created an absolutely stunning combination of illustration and text for what is sure to be remembered as one of his masterpieces. His hand-drawn pencil illustrations are magnificent in detail and incredible in style. Each page of the book is framed in black to simulate the reader is viewing an old black and white movie from the 1930's, the time in which the book is set. His illustrations mimic a movie as well, panning in with each subsequent illustration and focusing in on the smallest of details. Selznick switches between illustration and text when the story calls for it, and he does it seamlessly, in an homage to the movies of that era.

The visual lines of his illustrations are so sharp that the reader will search each picture for every possible detail before moving on, amazed at what they are experiencing. The story moves quickly, and the characters grab the reader's attention, immersing the reader in Hugo's mysterious world. This book combines elements of graphic novels, picture books, and the world of film. The character, Isabelle, said it best when she said, "Sometimes I think I like these photos as much as I like the movies. You can make up your own story when you look at a photo." (The Invention of Hugo Cabret, 2007). Brian Selznick has certainly defined a new style of reading.

REVIEW EXCERPTS/AWARDS

Caldecott Medal Winner 2008
National Book Award Finalist
#1 New York Times Bestseller
New York Times Best Illustrated Book 2007
Quill Award Winner
2007 Borders Original Voices Finalist
Los Angeles Times Favorite Children's Book 2007
Publisher's Weekly Best Book 2007

Starred review from KIRKUS: "From Selznick's ever-generative mind comes a uniquely inventive story told in text, sequential art and period photographs and film."

Starred review from SCHOOL LIBRARY JOURNAL: "With characteristic intelligence, exquisite images, and a breathtaking design, Selznick shatters conventions related to the art of bookmaking..."

Starred review from HORN BOOK: "Here's a dilemma for the Newbery committee...and the Caldecott: what do you do with an illustrated novel in which neither text nor pictures can tell the story alone?"

CONNECTIONS

*Read and compare other books either written or illustrated by Brian Selznick. These might include Wonderstruck (ISBN 0545027896), The Houdini Box (ISBN 0689844514), The Robot King (ISBN 0060244933), or The Boy of a Thousand Faces (ISBN 0064410803). Does he employ similar storytelling/illustrating methods?

*Find out more about the filmmakers and actors from the era depicted in the book. These filmmakers might include Georges Melies, Harold Lloyd, Rene Clair, Charlie Chaplain, Buster Keaton, or Jean Renoir. Perhaps write a short biography of any of these people.

*Research more about automatons. There is a link for the automaton that Brian Selznick studied at The Franklin Institute that is fascinating. http://www.fi.edu/learn/sci-tech/automaton/automaton.php?cts=instrumentation Find more information about automatons. Books to read include Automata and Mechanical Toys by Rodney Peppe (ISBN 1861265107) and Paper Automata: Four Working Models to Cut Out and Glue Together by Rob Ives (ISBN 189961821X).

*Introduce authors Jules Verne and Hans Christina Anderson to the students. These were two authors mentioned by Hugo in the story, and they are likely to be less familiar to the students of today.

*Direct the students the the website set up by Scholastic that is specific to Hugo Cabret. http://www.scholastic.com/hugocabret/Here they will be able to hear from the author, Brian Selznick, interact with the illustrations from the book, and build or fix automata.

Edwina, The Dinosaur Who Didn't Know She Was Extinct

Edwina, The Dinosaur Who Didn't Know She Was Extinct
By: Mo Willems








BIBLIOGRAPHY

Willems, Mo. 2006. Edwina, The Dinosaur Who Didn't Know She Was Extinct. New York, NY: Hyperion Books for Children. ISBN 0786837489

PLOT SUMMARY

In this whimsical tale, Edwina is the dinosaur that everyone in town loves. Helpful, playful, and an excellent baker, she is dear to every community member but one. Reginald Von Hoobie-Doobie has it in his mind that all dinosaurs are extinct, and he makes it his mission to convince the rest of the town of this sad fact. Despite numerous attempts to persuade the townspeople of the fallacy that must be Edwina, he is pushed to the point of frustration when no one in town will listen to or believe him. The only one willing to listen to Reginald is Edwina who, after listening carefully to his arguments, decides he's right but that she just doesn't care if she's extinct. Here Willems successfully underlines one of the fundamental beauties of childhood...believing in the incredible and seemingly impossible.

CRITICAL ANALYSIS

Willems is a talented author and illustrator who truly knows how to write the way children read. His illustrations of plates of cookies on the inside and back pages engage the reader right away. The characters in this story are beautifully and realistically personified, with Edwina wearing pearls and a hat while carrying a purse. She is a lovely character that the readers will end up wishing could exist in their own town. The disbelief on the townspeople and the frustration of Reginald Von Hoobie-Doobie are expertly illustrated, and Willems' talent allows the readers to feel Edwina's shock as she realizes that, yes, she really must be extinct.

The illustrations vary between softly colored and non-colored illustrations on opposing pages, with some well placed double page colored illustrations. The pages where the reader is meant to focus more on the emotion of a character contain less illustration while other pages contain more detail. These techniques, as well as embedding the text in various and changing locations on the page, keep the reader visually engaged and studying the illustrations for more information.

Mo Willems has created a niche with the early elementary and younger set. His characters express themselves, in their actions, body language, and manner of speaking in ways that are both believable and relatable. He wonderfully captures how children feel and behave sometimes, and makes everyone wish they had a dinosaur like Edwina to bake some chocolate-chip cookies for them.

REVIEW EXCERPTS/AWARDS

Starred review in BOOKLIST: "Consider this an enjoyable visit to a happy community that has no room for curmudgeons."

Starred review in CHILDREN'S LITERATURE: "...just a few strokes of his talented fingers and we can really 'see' Reginald's frustrations and efforts to be convincing."

Starred review in KIRKUS: "The just-right resolution is a tribute to the child's rock-solid faith in how the world should be, not how it really is."

CONNECTIONS

*Study other books by Mo Willems, and analyze the characters within. These might include any from the "Pigeon" series or the "Elephant & Piggy" series. What similarities do you see in the characters he writes and illustrates? Who do you most relate to?

*Read other dinosaur books, including Whatever Happened to The Dinosaurs (ISBN 0152952969), If the Dinosaurs Came Back (ISBN 0152380213), and A Dinosaur Named After Me (ISBN 0152234934) by Bernard Most. These books lend themselves wonderfully to allowing students to use their imaginations like Mo Willems and creatively decide what really happened to the dinosaurs, what they would do if they actually came back, and what type of dinosaur they might like to be themselves.

Millions of Cats

Millions of Cats
By: Wanda Gag





BIBLIOGRAPHY:

Gag, Wanda. 1928. Millions of Cats. New York, NY: Coward-McCann, Inc. ISBN 0698200918

PLOT SUMMARY

A kind old man and woman, living alone, realize they are lonely. The wife decides a cat will solve their loneliness. The husband, being a good and loving husband, sets off to find a cat for them. After much travel he discovers a hill that is covered in cats. He cannot decide on just one, so he brings them all home with him. The wife points out the simple fact that they cannot care for all of these many cats, so they ask the cats to choose amongst themselves the prettiest one. This leads to a giant catfight. When the husband and wife re-emerge from the house, they find just one homely cat that escaped the notice of the others. They bring the kitten into their home and, with some TLC, they have found their very pretty kitten.

CRITICAL ANALYSIS

Wanda Gag masterfully conveys multiple themes and style devices in this expertly crafted cautionary tale. Her black and white illustrations are traditional in style and simple, yet detailed, in perspective. Integrating the illustrations among the hand-lettered text allows the reader to seamlessly take in the importance of the illustrations as they are reading. Her illustrations, on some pages self-contained and on others covering the expanse of two pages, convey the great distance the man travels to find the cats and then, his inability to choose just one. She expertly illustrates the passage of time on the final page, with the husband and wife sitting with their kitten while their wedding photos hang in the background.

Her use of imagery, hyperbole, and onomatopoeia are visible on every page. The rhythmic repetition of the phrase "Cats here, cats there, Cats and kittens everywhere, Hundreds of cats, Thousands of cats, Millions and billions and trillions of cats"(Millions of Cats, 1928) is present on numerous occasions throughout and paints the visual of just how many cats the couple is faced with. Gag employs vivid imagery as the man is returning home with all of the cats, for when each cat stops to take a sip from a very large pond, the pond is emptied. Similarly, when each cat takes one mouthful of grass from the large hill "...not a blade was left!"

The thematic elements are numerous. First, we see how difficult it is for the old man to choose just one cat for his wife. In an effort to have the perfect something, many times people end up with a lot of a lesser thing. The cats fighting amongst themselves because they each consider themselves the prettiest is a perfect allegory for those with too much pride. It was the humble and homely cat, after all, who survived the catfitght and won a place in the hearts of the old man and woman.

Wanda Gag has combined rich, emotive illustrations with her unique style of writing to put forth a book that is pertinent to and enjoyed by children and adults alike.

REVIEW EXCERPTS/AWARDS

Newbery Honor Book 1929 (for Millions of Cats)
Lewis Carroll Shelf Award 1958 (for Millions of Cats)
Kerlan Award 1977 (for Wanda Gag's body of work)

CONNECTIONS

*Have the students volunteer a time when they've had difficult time making an important decision like the old man. What did they do?

*Discuss other options for how the old man and woman could have chosen their cat from all the "millions and billions and trillions of cats" without allowing them to fight. What could they have done with the rest of the cats?

*Gather and read other books by Wanda Gag, such as Nothing At All (ISBN 0816644187) and The Funny Thing (ISBN 0816642419). Talk about how she illustrates creativity, imagination, and perseverance in her characters.

*Have students write a story in the same framework as Millions of Cats, but have their story be about Millions of ________.