"Beowulf" by Gareth Hinds

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Bibliographic Citation

Title: Beowulf

Author/Illustrator: Gareth Hinds

Year of Publication: 2007

Publisher City: Cambridge

Publisher: Candlewick Press

ISBN: 9780763630232

Author/Illustrator Website: http://www.garethhinds.com/

Media Used for Artwork: Ink

Fiction Graphic Novel

"The Classics Revisited" Group Project-  Please visit our presentation here to learn more about how this graphic novel and others can be used in a high school curriculum.

Annotation

Follow the epic tale of Beowulf, in graphic novel format, as he battles barehanded against the evil monster called Grendel, vanquishes Grendel’s vengeful Mother, and fights his final battle against a rampaging dragon in order to protect his kingdom.

Personal Reaction

(Provided by J. Medina)

I really enjoyed this graphic novel adaptation of the epic poem, Beowulf. Hinds did a good job depicting Beowulf and the monsters. The wordless pages which depict certain scenes carries the plot better then if text had been incorporated. Hinds states on his website that the Candlewick Press version of Beowulf is slightly different from the first draft that he self-published. Candlewick Press chose A.J. Church's "more straightforward prose" whereas Hinds originally chose to use Francis Gummere's "more archaically-flavored" translation. I personally liked the choice of wording in the Candlewick Press version, it flowed well and suited the young adult graphic novel audience. An overly archaic worded translation I believe would be off putting to the reader.  This adaptation of Beowulf successfully tells the tale of Beowulf on its own, but I would still recommend using it as a supplement in the current curriculum.

Use of Onomatopoeia: [There are several instances present throughout the text, often incorporated into the graphics rather then the word bubbles]. "Boom" - text seems to be coming from the hall doors as they are opened.  "Crunch" - text is closely wrapped near Grendel's mouth as he bits a man's head.  "Smash" - written in line with Beowulf's arm and body motion as he drives Grendel's body into a table.

Use of Rhythm: [The wording of Beowulf's speech has a particular cadence that gives the reader a sense of it being presented to a large audience. The '/' represents where the reader might put an emphasis when reading aloud.]

Therefore/ I shall carry neither sword/ nor shield/ nor coat of mail/ to this battle. With the grip of my hands only/ will I confront this enemy,/ struggling with him, / life for life./ But who shall live/ and who shall die,/ let it be/ as God/ shall will. 

Use of Personification: [Fate is personified as someone who gives orders that cannot be disobeyed]. "But that which Fate has ordered shall come to pass."

Use of Simile: The image of the ocean is replaced with a map of the constellations thus likening the ocean to the sky. 

Curriculum Connection: Grades 9 to 12 Reading Literary Response and Comprehension
California Standard: Narrative Analysis of Grade-Level-Appropriate Text - Read literary texts and use detailed sentences to describe the sequence of events [Read and describe in detail the events that occur in the Beowulf story].  Structural Features of Literature - Identify several literary elements and techniques (e.g., figurative language, imagery, and symbolism); Read and identify ways in which poets use personification, figures of speech, imagery, and the "sound" of language; Identify the functions of dialogue, scene design, and asides in dramatic literature.

Media Used (discussed in detail): The story of Beowulf is divided into three separate books: Book 1) Beowulf vs. Grendel - which was drawn in ink by using a dip pen and brush, then colored digitally; Book 2) Beowulf vs. Grendel's Mother - which was drawn on painted wood panels using technical pen, watercolor, acrylic, and color pencil; and Book 3) Beowulf vs. the Dragon- which was drawn in ink by using a dip pen and brush, then colored using Dr. Martin's dye and white charcoal. Hinds brilliantly depicts the fighting scenes which are so essential to the story's plot. The jumbled snapshots of Beowulf rolling around, grappling with the monsters, mimic the chaos present in a live fight. Book 1 and Book 3's illustrations were my favorite which I attribute to Hinds' use of drawing with ink with dip pen and brush. I especially like how Hinds uses a map of the constellations as the background image for the dead warrior's pyres on the ocean and for the sky as seen through the banquet hall. The constellations were an eye drawing focal point which had me seeking out the ones I knew. Appropriately accenting Beowulf's death in Book 3, the sober hues are a stark contrast from the vibrant colors used to depict Beowulf's victories.

"Goal!" by Mina Javaherbin, Illustrated by A.G. Ford

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Bibliographic Citation

Title: Goal!

Author: Mina Javaherbin

Illustrator: A.G. Ford

Year of Publication: 2010

Publisher City: Somerville

Publisher: Candlewick Press

ISBN: 9780763675717

Author Website: http://minajavaherbin.com/

Illustrator Website: http://www.agfordillustration.com/

Media Used for Artwork: Oil Paint

Copyright 2010/2011

Awards

·         International Reading Association’s Notable Book for a Global Society List, 2011

·         Bank Street Library Irma Black Award Semi-Finalist 2010-2011

·         California Young Reader Nominee, 2011-2012

·         Texas Library Association’s Bluebonnet Award Master List 2011-2012

·         Smithsonian’s Notable Books for Children, 2010

Annotation

In South Africa a boy has received a regulation soccer ball for being the best reader in class and wants to share the prize with his friends. They bond over the game, even with the threat of bullies.

Personal Reaction

                This is a good story that shows the importance of friendship.  The boys in the story bond over the game of soccer.  They even work together to fend off the bullies that want to steal their new regulation soccer ball.

                Older readers will enjoy this book for its subtleness.  Though it is never directly stated it is clear through the illustrations that the characters in the story must endure a great deal of poverty.  The boys’ clothes are a little more worn, with stains and tears.  The buildings are also shabby.  But things like that are ignored in the text because the focus is on the joy of playing soccer.  And above all the gift of a new soccer ball is all the more important.

                This picture book would be good to show the universal nature of children, even when they live in a range of environments (location, financial, etc.).    Things like a game of soccer in the middle of the street is something every child could relate to.  This book teaches that every child is the same, no matter what his or her circumstances are.

Use of Metaphor:
“When we play,

the sound

of our kicks

on the ball

is music.”

Use of Onomatopoeia:
“I steal from Hassan

and whoosh like the wind,

glued to the ball.”

Use of Repetition:

“Left is clear.

Right is clear.”

"Surfer of the Century: The Life of Duke Kahanamoku" by Ellie Crowe, Illustrated by Richard Waldrep

Image Courtesy of: http://ecx.images-amazon.com/images/I/51fyI7l3fHL._SL500_AA300_.jpg

Bibliographic Citation

Title: Surfer of the Century: The Life of Duke Kahanamoku

Author: Ellie Crowe

Illustrator: Richard Waldrep

Year of Publication: 2007

Publisher City: New York

Publisher: Lee & Low Books Inc.

ISBN: 9781584302766

Author Website: http://www.elliecrowe.com/

Illustrator Website: No Illustrator Website

Media Used for Artwork: Color Pencil, Gouache

Awards

·         Asian Pacific American Award for Literature, Picture Book Winner, 2007-2008

·         Texas Bluebonnet Award, 2010-2011

·         Bank Street College Children’s Book Committee’s Children’s Books of the Year,

Annotation

A biography of Duke Kahanamoku, the father of modern surfing, during his early career as a member of the United States Olympic team for swimming and the many challenges he had to deal with, including racism and financial difficultly. 

Personal Reaction

                This book will be a draw to any older reader who enjoys surfing or swimming.  The biography of Duke Kahanamoku is done expertly in this picture book.  It is apparent that Crowe did a great deal of research to make sure that her facts were accurate about the life of the man who is the father of modern surfing. 

The picture book focuses mostly on his early career as a member of the Olympic swim team but besides stating the facts of his life, Crowe manages to bring up the racism that Kahanamoku had to endure in a subtle way so that it did not take over the entire story.  As a group, readers can discuss how issues of racism affected everyone in the past, even those who were famous.  This picture book can also be used with a group of other biographies of famous figures who succeeded despite the racial issues they had to endure.

Waldrep did an amazing job with the illustrations.  They are reminiscent of retro travel posters that were used in the era Kahanamoku lived.  The art deco style is very geometric, but the use of light colors used to represent Hawai’i softens the illustrations.   Some of the images even felt like postcards that anyone could send to family on their trip to Hawai’i.  One of my favorite images is one that occurs in the story where Kahanamoku introduced his style of surfing to Australians.  He holds a girl on top of his shoulders as they surf the waves.  Even though it is a still image, I can still feel the movement of the waves and the wind.

The style used in the illustrations is unique from other picture books I have seen.  Not only did Waldrep use a style of art that was popular in the era Kahanamoku was alive, it is also a style that is not seen often in current works.  But the beauty of the art deco style is wonderful and should not be forgotten.  This book is a good way to introduce it to readers.

Use of Onomatopoeia: To add to the tension of the story the author added onomatopoeia so that readers would feel they were at the race being described.

Example:

“BAM!  The pistol shot rang out.”

Use of Simile: One of the most adorable uses of a simile I have seen in a long time.  Comparing Kahanamoku to a tadpole when he first was taught to swim not only shows his age but also reminds the reader of the water.

Example:

“Wiggling like a little tadpole, Duke made his way back to the canoe.”

"John, Paul, George & Ben" by Lane Smith

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Bibliographic Citation

Title: John, Paul, George & Ben

Author/Illustrator: Lane Smith

Year of Publication: 2006

Publisher City: New York

Publisher: Hyperion Books for Children

ISBN: 078684893-6

Author/Illustrator Website: http://www.lanesmithbooks.com

Media Used for Artwork: Ink, Oil Paint, Parchment Paper

Awards

·         California Young Reader Medal, Winner for Picture Books for Older Readers, 2011

·         Publisher’s Weekly Best Book of the Year

·         School Library Journal Best Books of 2006

·         New York Times Best Illustrated Book of the Year

·         Parenting Magazine Best Book of the Year

Annotation

                The story of five historical figures of early American history and how certain characteristics each figure possessed helped made them important during the Revolutionary War in the soon to be United States.

Personal Reaction
                A very cute little story that uses commonly known antidotes about the founding fathers of the United States: John Hancock’s famous signature, George Washington chopping down the cherry tree, etc.  This picture book is a good way of introducing older readers to early American history, as well as teaches them how certain characteristics can help to develop a person into what we perceive as a good person and for that matter a hero.

                After learning about the historical figures, Smith then provides a page telling what was false and true in the story.  This is a useful tool in not only teaching historical facts but also showing how authors can develop a fictitious world while still using accurate facts.

                The illustrations used in this book as very unique.  Smith made the pictures looked aged, as if they were drawn during the era that the men being discussed lived.  This provides a visual hint to readers that the story is being told in a different era, the addition of using “ye olde” in the text helped as well.

Curriculum: Grade 5- This book can be used as an introduction to the Founding Fathers of America.   Students learn about the antidotes that each man is famous for and learn a brief history of their involvement in the American Revolution.  After reading this book, students can do individual research on the five men discussed in the book and do presentations for the class.

Use of Simile: Paul Revere speaking loudly could have been explain in a number of ways, but by using a simile readers understand the effect his voice has on the rest of the characters in the story.

Example: “Paul was like a bullhorn in a china shop.”

Use of Onomatopoeia: Paul Revere’s section of the book was very loud, so of course the noises would become words.
Example: “All day his head was filled with loud bings and bongs.”

Use of Sophisticated Language: The use of sophisticated language occurs the most in independent Thomas Jefferson’s section of the book.
Example: “Fear not, sir, I’ve used small words for the benefit of the dullards.”

"The Composer is Dead" by Lemony Snicket, Illustrated by Carson Ellis

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Bibliographic Citation

Title: The Composer is Dead

Author: Lemony Snicket

Illustrator: Carson Ellis

Year of Publication: 2009

Publisher City: New York

Publisher: HarperCollins Publishers

ISBN: 978-0-06-123628-0

Author Website: http://www.lemonysnicket.com/

Illustrator Website: http://www.carsonellis.com/

Media Used for Artwork: Watercolor, Ink

2009 Students’ List

Awards

·         Time Magazine’s Top Ten Children’s Books of 2009

Annotation

The Inspector tries to solve the case of the murdered Composer by questioning the members of the Orchestra.  All of them are under suspicion but all have an alibi.  So then the question remains, who killed the Composer?

Personal Reaction

                This is such an amusing book that teaches readers about an orchestra and does so in a very creative way, as a murder mystery.  It allows questions to be asked, by the narrator, in this case the Inspector, so that a reader can learn about an orchestra without it becoming a boring lecture.  The author teaches readers about each section of the orchestra and uses advance vocabulary but does so without talking down to the reader.  Snicket’s respect of his readers and their intelligence can allow for a reluctant reader to feel empowered and continue to find other books to read.

                The illustrations are minimalist, usually having just one picture on a page: a fly, a bust, the Inspector, and so on.  The minimalism is continued in the actually drawings.  An example of this is the silhouette’s used when each part of an orchestra is introduced.  This allowed for a visual hint to readers that about with set of instruments was being taught.  The times that the pictures become more elaborate are when the instruments begin to play; scenes are created with music notes dancing through the scene.

A unique feature of this particular book is the accompanying CD which allows for a chance to listen to the story being narrated (by Lemony Snicket aka Daniel Handler) as well as listen to an orchestra perform (composed by Nathaniel Stookey and performed by the San Francisco Symphony).  This allows an opportunity for students to understand the impact of music on narration, adding a depth to the story.  The appreciation of music that is taught in this book and CD is desperately needed in schools now, especially with the continued loss of classes about the arts.

Curriculum: Grade 5- This book and its accompany CD can be used in the teaching about music.  Not only does the book allow children to understand the different sections of an orchestra and the dynamics.  The addition of the CD allows students to listen to the instruments they just learned about. At one point of the book a list of several famous composers is made, which can be a start off point to introduce these famous composers and their works.

Use of simile: When the Inspector talks to the Flutes, they compare to themselves to birds. 

Example: “AHA! the Inspector cried.  “Perhaps you murdered the Composer for making you act like birds!”

Use of repetition: Very early on in the book the Inspector declares how he will find the enemies of the dead composer somewhere in the orchestra, but does this by repeating the beginning of the line but changing the ending.
Example: “I will find them if they are lurking in the strings.  I will find them if they are lurking in the brass.  I will find them if they are lurking in the woodwinds.  I will find them if they are lurking in the percussion section.”

Use of Personification: When the Inspector talks to each section of the orchestra there is no description of individuals (in the text or illustrations), it is as if the instruments themselves are speaking.  This is also done through the illustrations when each section of the orchestra is introduced.  Instead of groups of people it is images of the instruments.
Example: “The Violins answered first, of course.”

Use of Onomatopoeia: The most dominate example of this in the book is when the Inspector repeatedly says “AHA!” after each group of instruments have spoken.

Use of sophisticated language: The use of specific instrumental names will help readers learn about orchestras.  And something amusing that the author does when using difficult words is define it in a unique way.
Example: “Last night was incredibly important for us,” proclaimed the Trumpets in a boisterous manner, a phrase which here means “loudly and with a certain arrogant rudeness.”

"Cinderella Skeleton" by Robert D. San Souci, Illustrated by David Catrow

Image Courtesy of: http://mediamacaroni.com/wp-content/uploads/2009/10/cinderellaskeleton.jpg

Bibliographic Citation

Title: Cinderella Skeleton

Author: Robert D. San Souci

Illustrator: David Catrow

Year of Publication: 2000

Publisher City: New York

Publisher: Silver Whistle

ISBN: 0-15-202003-9

Author Website: http://www.rsansouci.com/

Illustrator Website: http://www.catrow.com/
   A video of Catrow drawing Cinderella Skeleton: http://vimeo.com/6650302

Media Used for Artwork: Pencil, Watercolor

My Top 10 Favorite Picturebooks for Older Readers

Awards

·         International Reading Association Children's Choices, 2001

Annotation

This picture book is a retelling of the fairytale Cinderella with a few unique twists that morph the world many are use to.  Cinderella is no long a beautiful living girl but instead a decaying skeleton.

Personal Reaction

                This isn’t the Disney version of Cinderella that people are use to; it is a reinvention of the story that is far closer to the darker, bloodier version by the Brothers Grimm.  No toes or heels are cut off in “Cinderella Skeleton” but foot bones are snapped off with ease.

                The story of “Cinderella Skeleton” is told as a poem.  Robert D San Souci used the rhythm scheme he created to his full advantage, while not taking away from the telling of the story.  The author must have been aware that his choice to make Cinderella a corpse could become quickly dark and choose to use humor to lighten the mood.  An example of this is that house in which Cinderella Skeleton resides “invites guests to REST IN PEACE.”

“Cinderella Skelton” will attract older readers who aren’t drawn to happily ever after Disney versions of fairy tales any more but still like fairy tales.  After reading this retelling, a reader can start searching out retellings of fairytales that are novel length, such as “Beastly” by Alex Flinn (or even watching the movie adaption).  The story of Cinderella is the one that readers know by heart but the reinvention of the characters and setting allows reader to see the story from another perspective.  It is also a way to teach that certain basic stories are constantly used throughout literature but are morphed to fit an author’s ideas or illustrator’s design.

The artwork is what drew me to this book in the first place.  Cinderella in this case is a skeleton with “teeth like polished kidney stones” and “dankish hair” that Prince Charnel (a very creative renaming of Prince Charming) adores.  One almost feels that David Catrow was inspired by Tim Burton films.  There are touches of Jack Skellington from “The Nightmare Before Christmas” and the bride from “Corpse Bride” in the illustrations.  Catrow illustrated the skeletons so that they would have such expressions and personalities.  And Cinderella Skeleton’s silk gown of spider web has a frightening elegance to it.  Beauty presented in an unexpected way.  Though the skeletons could be seen as frightening to some, others will be delighted in the humor Catrow also uses in his drawings.  For example: the carriage that takes her to the Halloween Ball is a funeral wagon, and instead of a mighty steed Prince Charnel rides a bicycle to search for his lost love.  Overall, this is a delightfully morbid retelling of a classic fairytale that is enhanced by the illustrations.

Use of Rhyme: Each stanza is broken up the same wait.  The first line always begins “Cinderella Skeleton,” and the rhythm scheme after is ABBCCA throughout.

Use of Alliteration: Throughout the poem repetition of the first letter of the word is used.  Some examples include:

“Decayed, decrepit-what a fright.”

“And firmly packed with spite and spleen.”

Use of Onomatopoeia: Making a word from a sound is used a few times in this picture book.  Some examples include:

“Saw witch touch wand- Tip-tap!-to all.”

“Ignoring the thump of her footless stump.”

Use of Repetition: Throughout the story each stanza starts with Cinderella Skeleton.