Jill Swann BookTalk: June 2011

Thursday, June 23, 2011

Between Earth & Sky Legends of Native American Sacred Places

By Joseph Bruchac

Illustrated by Thomas Locker

cover image retrieved from

http://www.barnesandnoble.com/w/between-earth-sky-joseph-bruchac/1005693763

Bibliography

Bruchac, Joseph. 1996 BETWEEN EARTH & SKY LEGENDS OF NATIVE AMERICAN SACRED PLACES. San Diego, CA. Harcourt Brace & Co.

ISBN-13: 978-0152020620

Plot Summary

Little Turtle and his uncle, Old Bear, share a poignant conversation as they walk through their native land. Little Turtle questions if all tribes have sacred places, as the Delaware Indians do. Old Bear responds with legends from tribes from around the country, each representing one of the cardinal directions, as well as Above, Below, and the place Within. Little Turtle comes to see that Native tribes from many areas have tales and traditions similar to his own, with morals or to explain a natural occurrence.

Critical Analysis

Joseph Bruchac selects an endearing method to relate legends and tales from around the United States. The legends retold in this book are set within a conversation between Little Turtle, a young Indian boy, and Old Bear, his uncle. Since much folklore is retold within family settings, this is the perfect framework for the retelling of several Native American tales from all areas of the country. Old Bear selects one story each from the North, South, East, and West, as well as Above , Below, and Within. A comfortable familial bond is felt during the conversations before and after the tales are relayed. Bruchac identifies the tribe each tale is thought to have originated in. He provides a map and additional information about the legends and tribes, as well, to enhance the learning experience for the reader.

Thomas Locker’s gorgeous landscapes are the perfect backdrop for this book. Throughout the book, as in all Native tales, homage is paid to the land and its importance in the balance of life. The serene landscapes provide a visual connection to the land indigenous to each tale. Picturesque panoramic views of the tribal land each tale represents give the reader a peaceful feeling, and a sense of the interdependence between man and land. The blend of visual representation and storytelling create a satisfying collection of Native American lore.

Review Excerpts

From Publishers Weekly

A Native American man tells his nephew 10 legends of sacred places. PW praised the "gracefully compressed" unrhymed verse and the alternately "ethereal" and "atmospheric" oil paintings. All ages.

From School Library Journal

Grade 3-6 Bruchac frames 11 legends of Native American sacred places with a conversation between Little Turtle and his uncle, Old Bear, who says, " 'There are sacred places all around us...They are found in the East and in the North, in the South and in the West, as well as Above, Below, and the place Within. Without those places we lose our balance.' " Bruchac writes in language that is dignified and almost poetic in its simplicity. The text is printed in stanzas, enhancing the image of prose poems. …It is difficult to convey the beliefs of an entire people in one brief legend divorced from the rest of their tradition, yet these selections point to the richness possible in looking at the Earth in a spiritual way. Karen James, Louisville Free Public Library, KY

From Booklist

Gr. 2^-5. In response to Little Turtle's questions about places sacred to the Delaware Indians, Old Bear explains that all people have sacred places and shares 10 legends from different tribes.…The picture-book format is similar to that of Thirteen Moons on Turtle's Back (1992). Here, short, easy-to-understand legends are accompanied by full-page oil paintings in Locker's dramatic signature style. Pairing places familiar to many students, such as Niagara Falls and the Grand Canyon, with legends offers readers new perspectives on the natural world and an excellent curricular connection. A solid addition for school and public libraries. Karen Hutt

From Kirkus Reviews

From the creators of The Earth Under Sky Bear's Feet (1995), philosophical free-verse legends about (and portraits of) places across the US and the native people who hold them sacred. Each tale is colorful, if stiff; each contains an ethical point; each represents a direction or an aspect of direction by which people locate themselves in physical and spiritual landscapes: east, west, north, south, center, above, below, balance lost, and balance held…. The frame (and Old Bear's overarching first-person presence in the l

egends) distances readers, creating a gap that the real beckoning treasures of this book--the tales themselves and Locker's monumental oil landscapes--cannot bridge (Picture book/folklore. 6+) -- Copyright ©1996, Kirkus Associates, LP.

Reviews

“An excellent choice that will provoke both introspection and discussion.”—The Horn Book

“Offers readers new perspectives on the natural world and an excellent curricular connection. A solid addition for school and public libraries.”—Booklist

reviews retrieved from http://www.amazon.com/Between-Earth-Sky-Legends-American/dp/product-description/0152020624/ref=dp_proddesc_0?ie=UTF8&n=283155&s=books

Connections

During a unit on Native Americans, assign each student one page from this book. After studying the illustration and reading the legend, students will compose a poem reflective of the specific legend and tribe.

Working with partners or small groups, students will create a diorama representing each of the regional legends.

Read more of Thomas Bruchac’s books about Native Americans. Compare and contrast the legends from the various regions.

Create original artwork depicting the landscapes or legends in this or other Thomas Bruchac books.

Use this book to support a unit on Native Americans.

Other books by Thomas Bruchac:

Turkey Brother, and Other Tales: Iroquois Folk Stories.

The Good Message of Handsome Lake

The First Strawberries: A Cherokee Story

A Boy called Slow

The Earth Under Sky Bear's Foot

The Story of the Milky Way: A Cherokee Tale

Lasting Echoes. An Oral History of Native American People

Crazy Horse's Vision

Code Talker About the journey of Ned Begay, a Navajo man's voyage during WWII.

Buffalo Song

Night Wings

Swamp Angel

By Anne Issacs

Illustrated by Paul Zelinsky

cover image retrieved from

http://www.anneisaacs.com/content/node/31

Bibliography

Isaacs, Anne. 1995. SWAMP ANGEL. Dutton Children’s Books. New York. ISBN-13: 9780780799813

Plot Summary

“Little” Angelica Longrider was born on August 1, 1815, destined to become the greatest woodswoman in Tennessee. She spends her childhood building log cabins and saving the members of her community from disasters. When saving a wagon train from the muck and mire of a nearby swamp, she awed the rescued pioneers. They dubbed her an angel, thus earning her the moniker Swamp Angel. Angelica soon faces her toughest opponent, a menacing bear named Thundering Tarnation. In an attempt to earn the title “Champion Wildcat,” the Swamp Angel sets out to vanquish the rogue bear. After the failed efforts of several men, she finally meets up with her nemesis. The size one another up and then have at it. Their tussling stirred up so much dirt, the Great Smoky Mountains were so christened from the dust storm they created. After an epic five-day battle, the bear and Angelica finally collapse in exhausted sleep. Their intense snoring lead to the felling of two enormous trees, which opportunely landed just next to and then on the giant bear. There he lay, dead as a doornail. Angel summed up their extraordinary battle by telling the dead bear, “Confound it, varmint, if you warn’t the most wondrous heap of trouble I ever come to grips with!” Thundering Tarnation provided a feast for the community that evening, and kept them well-fed for the winter. His hide accompanied her to Montana, where she laid it out in front of her cabin. It became the Shortgrass Prairie.

Critical Analysis

Angelica Longrider is not your average girl. Born slightly bigger than her mother, she grows to tackle huge problems in her mountain valley community with compassion and ease. Anne Isaacs constructs a fanciful folktale in her first children’s book. Her main character embodies all the qualities expected of a folk legend: enormous size, kind heart, multiple talents, and adept problem solving. Pitting Swamp Angel against an equally imposing figure, Thundering Tarnation, is true to the folklore tradition of setting up the heroine/hero against a force representing insurmountable destruction or evil. Typical of the folktale genre, the overgrown heroine prevails in her campaign to rid the world of the dastardly beast. Folklore enthusiasts will not be disappointed in this modern rendering of an old narrative tradition.

Ms. Isaac’s comfortable sprinkling of hillbilly talk into the tale brings authenticity that would lead the reader to believe this tale had been around since the days of storytelling around the nightly campfire. Readers will feel a part of the setting as her mix of slang, idioms, similes, metaphors, and history draw one into this fanciful tale. Per folklore custom, authentic events and places are explained through the events of the account.

Paul Zelinsky’s illustrations bring Swamp Angel to life. To capture the rustic feel of the legend, Mr. Zelinsky crafted the artwork by painting in oils on cherry, maple, and birch veneers, according to information on the copyright page. Zelinsky is well-known as a Caldecott-winning illustrator of two children’s books, as well as the creator of artwork for twenty-one other children’s books. Zelinsky’s use of ovals to frame many of the pictures in Swamp Angel offers variety and a nostalgic feel, which are both perfect for a folk tale format. He utilizes primitive-style faces to further create the mood of a tale from days gone by being retold, rather than an original story created within the past two decades. Rich earthtones perfectly suit the outdoorsy setting and mood. Wood grain frames around each page complete the homespun, down-to-earth ambience of a folktale. Mr. Zelinsky knows his craft well, and has unmistakably identified and crafted the subtleties required to accomplish a current-day old-fashioned legend.

Review Excerpts

“Move over, Paul Bunyan, you are about to meet Swamp Angel, an original creation in the tall-tale tradition whose exploits are guaranteed to amaze and amuse a wide swath of readers. . . Visually exciting, wonderful to read aloud, this is a picture book to remember.”   starred review, Horn Book

“It is impossible to convey the sheer pleasure, the exaggerated loopiness, of newcomer Isaacs’s wonderful story. Matching the superb text stride for stride are Zelinsky’s altered-state, American primitive paintings—gems that provide new pleasures, reading after reading.”  starred review, Kirkus

reviews retrieved from http://www.anneisaacs.com/content/node/31

The pictures and words cavort across the page in perfect synchronization, revealing the heroine’s feisty solution. Buy for a great guffaw in small groups or one-on-one…. It’s an American classic in the making.

Zelinsky’s detailed oil paintings in folk-art style are exquisite, framed in cherry, maple, and birch wood grains. They are also hilarious, making brilliant use of perspective to extend the mischief and the droll understatement…. Pair this picture book with Lester and Pinkney’s John Henry [BKL Je 94] for a gigantic tall-tale celebration.

Reviews retrieved from http://www.syndetics.com/index.aspx?isbn=0525452710/SLJREVIEW.html&client=anarp

Starred reviews: Horn Book, Booklist, Kirkus, Bulletin, Publisher’s Weekly, School Library Journal

Awards and Honors

1995 Caldecott Honor Book

1995 Boston Globe-Horn Book Honor Book

1994 ALA Notable Book

New York Public Library, 100 Books Every Child Should Read

New York Times Best Illustrated Books of 1994

School Library Journal Best Books of 1994

Booklist Children’s Editors Choices 1994

Publisher’s Weekly Best Books of 1994

Time Magazine’s 8 Best Children’s Books, 1994

Parenting Magazine Reading-Magic Award, 10 Best Books of 1994

1995 Notable Trade Book in Language Arts, National Council of Teachers of English

Book of the Month Club featured selection

Featured on Storytime, PBS

Connections

Social Studies: locate the places identified in the story on a map.

Tennessee, Great Smoky Mountains, Kentucky, Montana, Shortgrass Prairie

Star chart: Ursa Major (Great Bear) and Ursa Minor (Little Bear)

Science: research and describe the habitat of Tennessee, especially in the Great Smoky Mountains region.

Math: Use the idea of a folk tale to create story problems for classmates to solve.

Example: Thundering Tarnation is stealing all of the settlers’ grub. If he steals eight pounds of meat from twelve settlers, how many pounds of meat would he have to eat?

Language Arts: How would this story be different if it were set in the Desert Southwest? Create a folktale of your own by changing to a Desert Southwest setting.

Other books written by Anne Isaacs:

Treehouse Tales

Torn Thread

Cat Up a Tree

Pancakes for Supper

Dust Devil

Other books illustrated by Paul Zelinsky:

Emily Upham’s Revenge

How I Hunted the Little Fellows

The History of Helpless Harry

Three Romances

What Amanda Saw

The Maid and the Mouse and the Odd-Shaped House

Ralph S. Mouse

The Song in the Walnut Grove

The Sun’s Asleep Behind the Hill

Zoo Doings

Dear Mr. Henshaw

Hansel and Gretel (Caldecott Honor Book)

Rumpelstilstskin (Caldecott Honor Book)

The Random House Book of Humor for Children

The Wheels on the Bus

Strider

The Enchanted Castle

More Rootabagas

Rapunzel (Caldecott Medal winner)

Five Children and It

Awful Ogre’s Aqful Day

Knick-Knack Paddywack!

Doodler Doodling

The Story of Mrs. Lovewright and Purrless Her Cat

Toys Go Out

The Shivers in the Fridge

Toy Dance Party

Awful Ogre Running Wild

Dust Devil

Three Little Cajun Pigs By Mike Artell Illustrated by Jim Harris

Three Little Cajun Pigs
by Mike Artell

cover image retrieved from

http://search.barnesandnoble.com/Three-Little-Cajun-Pigs/Mike-Artell/e/9780803728158

Bibliography

Artell, Mike. 2006. THREE LITTLE CAJUN PIGS. Dial. New York. ISBN-13: 978-0803728158

Plot Summary

Trosclair, Thibodeaux, and Ulysse have a dilemma: Mama says it’s time for them to be out on their own. As the trio of piglets packs up and moves out, they must find suitable housing. Trosclair discovers straw free for the taking, so he quickly grabs his share and begins a little house. Further down the road, Thibodeaux stumbles upon free sticks. He gladly takes the offer and puts together a neat little stick house. Ulysse, the oldest and presumably wisest, sees the need for a home of sturdier construction. He lucks into some free bricks and sets out to build a solid dwelling. Before long, Ol’ Claude, the gator gets wind of his new neighbors and decides to pay them a visit, hoping to feast on little piggie for supper. With his mighty gator tail he makes short work of the houses of straw and sticks, but fails to capture the piggie he desires. He follows their scent to Ulysse’s house, only to be net by formidable bricks. Ol’ Claude quickly opts for the chimney, though a clumsy gator is not meant for climbing! Fortunately, Ulysse has been making a roux to get his dinner started. The piggies feed the fire as Ol Claude begins his descent. Claude’s tail soon starts to scorch and the gator is stuck. The little piggies take mercy on him, drag him out of the chimney and send him on his way. In the end, all of our characters learn a valuable lesson about planning, preparation, and sticking your nose where it doesn’t belong!

Critical Analysis

This hilarious rendition of the classic Three Little Pigs story is vibrant and alive, with rich Cajun vocabulary. A glossary at the front of the book helps the reader to understand some terms that may not be familiar, such as roux, mon ami, and couchon de lait. Pronunciations are also offered for the vocabulary and the classic Cajun names of our main characters: Trosclair, Thibodeaux, and Ulysse (who bears the endearing nickname “Boo.”) The glossary also includes a guide to the rhyme scheme of the book, which is very helpful as the reader attempts the unfamiliar territory of Cajun-ese.

Reading this book aloud definitely facilitates understanding it. Readers familiar with the traditional tale of the Three Little Pigs will know the basic plot details. All are faithfully kept here, but the infusion of “Cajun-speak” makes it a bit more challenging. Once the reader gets the basic rhythm of the text down, the story unfolds with delightful alterations from the classic tale. Cajun flavor is rich in this text, with a glimpse into life in bayou for the reader. The author’s dedication reads, “For dem folds south of I-10 who know how to pass a good time.” A good time certainly is had by all who journey to “south Loo-siana, where gators grow big.”

Youngsters attempting to read this on their own might be overcome by the vocabulary and slang spellings throughout the story. While this book is designated as a K-3 reader, not many kids in that range that I know of would be able to pull off reading and understanding this on their own. Readers of all ages will be captivated by the clever variations, though, with a little time and effort devoted to reading it. The plot is well-developed, true to the traditional tale, and obvious in its portrayal of good/bad, wise/unwise, and bullish/merciful.

Enhancing the enchanting story are the colorful illustrations of Jim Harris. Harris has illustrated many children’s books, and captures the fun and frivolity of this tale. Harris is known for his inclusion of a spry little mouse inserted onto each picture. The little critter shows up faithfully here, as well, adding humor in tiny doses. Harris uses tiny details to infuse humor into each illustration. As Mama Pig informs the “brudders” they will have to move out, she is standing with curlers in her hair and a “Room for Rent” sign under her arm. Each of the signs the pigs come upon offering free building materials are also quietly humorous. Facial expressions of the characters are priceless. Readers will want to spend time pouring over the art to capture the details that extend this entertaining story. Harris skillfully uses lines, angles, and color palette to contribute to the action of each scene. He knows his trade well, and connects with readers to add true value to the book.

Review Excerpts

From School Library Journal

Kindergarten-Grade 3–A hilarious version of the familiar tale. The pigs are named Trosclair, Thibodeaux, and Ulysse (also know as Boo), and their antagonist is Ol' Claude, the alligator of Petite Rouge infamy (Dial, 2001.) … Harris's amusing watercolor-and-pencil illustrations mirror the text with élan; they are full of funny details that beg to be looked at again and again (the little mouse is also back). Although Cajun variations on folktales are becoming plentiful, this one should not be missed.–Judith Constantinides, formerly at East Baton Rouge Parish Main Library, LA

Review retrieved from

http://www.amazon.com/Three-Little-Cajun-Pigs-Artell/dp/0803728158

Hilarious rhymes lend to read-aloud and zany drawings by Jim Harris bring to life a vivid remake of a classic. Midwest Book Review Feb. 2007

Review retrieved from http://www.entrepreneur.com/tradejournals/article/159330432.html

Connections

This story provides great opportunities to practice using context clues to figure out the meaning of unknown words. When reading aloud to a class or a small group of kids, extend the page-by-page discussion by highlighting or pointing out unfamiliar words, such as the many Cajun words that give the story flavor. Encourage students to use other words on the page, the illustrations, and prior knowledge of the Three Little Pigs classic version to determine probable meaning of the unfamiliar words.

Share several variations of the classic Three Little Pigs story. After identifying basic story elements, ask children to create their own version using the stem The Three Little ________ and the Big Bad ___________.

Compare variations of this classic tale. Have students create a Venn Diagram or Double Bubble Thinking Map to compare and contrast two or three versions.

This story would make a wonderful Reader’s Theater. Students can works in small groups to plan the script, costumes, and props to present this story to other members of the class or another class.

Other books written by Mike Artell:

The Wackiest Ecology Riddles on Earth (with Beverly Armstrong)

Fun with Expressions

Big Long Animal Song

The Wackiest Nature Riddles on Earth

How to Create Picture Books

Who Said Moo?

‘Twas the Night before Christmas

The Earth and Me

Hidden Pictures

Weather Whys

Writing Start-Ups

Write Fast-Write Funny

Legs: A Who’s under the Flap Book

Parties Kids Love

Rainy Day Recess

Classroom Cartooning for the Artistically Challenged

Starry Skies

Awesome Alphabets

Little Giant Book of Tongue Twisters

Backyard Bloodsuckers

Petite Rouge: A Cajun Red Riding Hood

I See Some Squares

Where Are the Triangles?

My Pet

I See Circles

When I Say …

Cartooning for Kids

Oodles of Doodles

Three Little Cajun Pigs

Giggle Fit

Pee-Yew!

Really Weird Trilogy

Who Said “Moo?”

Write Fast, Write Funny

Other books illustrated by Jim Harris:

Dinosaur’s Night Before Christmas

Ten Little Dinosaurs

Ten Little Puppies

Three Little Dinosaurs

The Treasure Hunter

Towns Down Underground

The Tortoise and the Jackrabbit

The Three Little Javelinas

Three Little Cajun Pigs

Petite Rouge

Goose and the Mountain Lion

Jack and the Giant

Bible ABC

Mystery in Bigtown

Slim and Miss Prim

The Trouble with Cauliflower

Jacques and the Beanstalk

Tuesday, June 14, 2011

The Invention of Hugo Cabret By Brian Selznick

The Invention of Hugo Cabret

by Brian Selznick

image retrieved from http://www.theinventionofhugocabret.com/about_hugo_intro.htm

Bibliography

Selznick, Brian. 2007. THE INVENTION OF HUGO CABRET. Scholastic Press. ISBN-13: 978-0439813785

Plot Summary

Hugo Cabret makes his way through the walls and tunnels of a Paris train station, seeking desperately to remain hidden from the eyes of all. Hugo, orphaned after the tragic death of his father in a fire at a museum, is alone again when the uncle who took him in fails to return from an evening of drinking. Afraid of being sent to an orphanage, Hugo keeps up the pretense of his uncle still being there by maintaining the clocks of the train station in his absence. Hugo has learned the clockworks trade from his family, and is himself quite adept at the intricacies of the minute workings of the cogs and gears. Hugo focuses much of his energy on refurbishing an automaton that his father had admired at the museum, convinced that it will somehow reveal a message to him from his father.

Along the way through this intricately woven tale, a cast of characters with a connection to Hugo’s mission enter the scene and become part of the unfolding drama. Georges and Jeane Melies, Isabelle, Etienne, and the Station Inspector all play roles in this story that intertwines Hugo’s personal tragedies with the early days of movie making. As the curtain closes on Hugo’s story the reader is let in on a little secret about its creation….

Critical Analysis

Hugo Cabret is first introduced to the reader in an opening textual scene set, then comes to life for the reader through a series of elaborate pencil drawings on the proceeding pages. It is not until page 46 that the reader is provided text to add meat to the already intriguing story of a boy who seeks to exist as close to invisible as possible in a Paris train station in 1931. From the brief introduction to the very last page, the reader is captivated by the unique format that seamlessly intermingles entrancing artwork with absorbing text. This technique is uncommon and hypnotizing at the same time. The text serves to fill in the blanks for the illustrations, such as the thoughts and memories of the characters, which play heavily into the storyline. This format is immediately appealing to everyone I have encountered. My fifth grade students are at first intimidated by the length (525 pages) but quickly feel drawn to tackle it, enthralled by the mix of illustrations and text. My own teenage children were tickled to find such a combination.

The artwork in this distinctive book is stunning. I do not favor pencil drawings, but the intricacies are so alluring the reader can spend great amounts of time combing through the details. I often found myself turning back to certain illustrations while reading the text to determine if details revealed in the writing were actually in the illustrations but had been overlooked. I found that I had missed some critical details from time to time. This discovery serves to challenge readers to pore over subsequent illustrations with greater intensity. Dubbed “A Novel in Words and Pictures” by author/illustrator Brian Selznick, The Invention of Hugo Cabret is a masterpiece, skillfully demonstrating that there is something new under the sun: stunning artwork that is as essential to the telling of this tale as the printed word.

Review Excerpts

From Publishers Weekly

Starred Review. Here is a true masterpiece—an artful blending of narrative, illustration and cinematic technique, for a story as tantalizing as it is touching. To Selznick’s credit, the coincidences (in the book) all feel carefully orchestrated; epiphany after epiphany occurs before the book comes to its sumptuous, glorious end. Selznick hints at the toymaker’s hidden identity […] through impressive use of meticulous charcoal drawings that grow or shrink against black backdrops, in pages-long sequences. The plot ultimately has much to do with the history of the movies, and Selznick’s genius lies in his expert use of such a visual style to spotlight the role of this highly visual media. A standout achievement. Ages 9-12. (Mar.)

“It’s wonderful. Take that overused word literally: ‘Hugo Cabret’ evokes wonder.” — New York Times Book Review

“A true masterpiece.” — Publishers Weekly, starred review

“Fade to black and cue the applause!” — Kirkus, starred review

“Complete genius.” — The Horn Book Magazine, starred review

“Breathtaking.” — School Library Journal, starred review

“An original and creative integration of art and text.” — The Bulletin of the Center for Children’s Books, starred review

additional reviews retrieved from http://mediaroom.scholastic.com/hugocabret

Awards and Honors:

Winner of the 2007 Caldecott Medal

2007 National Book Award Finalist

2008 ALA Best Book for Young Adults

ALA Notable Book for Middle Readers

2008 IRA Teachers’ Choices, Intermediate

Book Sense-Book of the Year Award 2008, Children’s Literature

Winner of the 2007 Quill Award, Children’s Chapter/Middle Grade

CCBC Choices 2008, Fiction for Children

Book Sense Children’s Picks – Spring 2007

Horn Book Fanfare List- Best Books of 2007 Fiction

2008 IRA Children’s Choices, Grades 5-6

Kirkus Reviews – Best Children’s Books 2007

Publishers Weekly – Best Children’s Books 2007, Children’s Fiction

Connections

Reluctant readers will delight in the mixture of text and illustrations. For those who struggle with too many words on a page, but desire the accomplishment of completing a lengthy book, this book is perfect!

Encourage discussion on this topic: Which is more powerful- the printed word or the illustration?

Students can create their own story, using equal parts text and full-page illustrations.

Other books written and/or illustrated by Brian Selznick:

Frindle (Simon & Schuster)

The Landry News (Simon & Schuster) 

The School Story (Simon & Schuster)

Lunch Money (Simon & Schuster) Written by Andrew Clements

Doll Face Has a Party (HarperCollins) 

Our House (Scholastic) Written by Pam Conrad

The Boy Who Longed For a Lift (HarperCollins) Written by Norma Farber

Barnyard Prayers (Hyperion) Written by Laura Godwin

The Dinosaurs of Waterhouse Hawkins (Scholastic) 

Walt Whitman: Words for America (Scholastic) Written by Barbara Kerley

Marly’s Ghost (Penguin) Written by David Levithan

The Doll People (Hyperion) 

The Meanest Doll in the World (Hyperion) 

The Runaway Dolls (Hyperion) Written by Ann M. Martin and Laura Godwin

Riding Freedom (Scholastic) 

Amelia and Eleanor go for a Ride (Scholastic) 

When Marian Sang (Scholastic) Written by Pam Muñoz Ryan

The Dulcimer Boy (HarperCollins) Written by Tor Seidler

The Boy of a Thousand Faces (HarperCollins) 

The Houdini Box (Simon & Schuster) 

The Invention of Hugo Cabret (Scholastic) 

The Robot King (HarperCollins) Written by Brian Selznick

Wingwalker (Hyperion) Written by Rosemary Wells 