Saturday, October 25, 2008
Crossing Bok Chitto
Bibliography
Tingle, Tim. 2006. CROSSING BOK CHITTO: A CHOCTAW TALE OF FRIENDSHIP & FREEDOM. Ill. By Jeanne Rorex Bridges. El Paso: Cinco Puntos Press. ISBN 9780938317777
Summary
This Choctaw story is about how two children from different cultures form a friendship and help each other out. Set in Mississippi, a river called Bok Chitto separated the Choctaw from the plantation owners and their slaves. Both had an agreement not to cross the river. While picking blackberries one day, Martha Tom, a young Choctaw girl, crossed the river and stumbled upon a group of slaves. Martha Tom was led back home by a boy named Little Mo. This began a beautiful friendship.
One day Little Mo’s mother was told that she was going to be shipped off to another plantation and would not be with her family any longer. Brave Little Mo led his family at night to the Bok Chitto River and with the help of the Choctaw women, the family crossed over the river to freedom.
Critical Analysis
Crossing Bok Chitto was set in Mississippi before the Civil war and the Trail of Tears. The Choctaw people lived on one side of the river and plantation owners and their slaves lived on the other side. There was a law that if a slave escaped and made it across the river, they were free. It is also said that the Choctaw built a secret path across the Mississippi river.
This story is filled with cultural markers that represent both Native American and African American culture. When Martha Tom crosses the river and stumbles upon the clearing, she discovers a secret forbidden slave church. She also discovered a hundred slaves appearing from the trees calling out “We are bound for the Promised Land!” The man began to preach and the slaves began to sing. Martha Tom was moved by the music because she had never heard anything like it before. When Little Mo’s father found Martha Tom and told his son that he would need to lead Martha Tom back to the river, he told his son how to move so the owners would not hear him. “You move not too fast, not too slow, eyes to the ground, away you go!” This phrase was also used again when Little Mo’s family escaped from the plantation to cross the river.
When Little Mo and Martha Tom crossed over to the Choctaw side the first time, Little Mo heard chanting, something he had never heard before. “He thought it must be the heartbeat of the earth itself.” This was the sound of men calling all of the Choctaw to the wedding. Tingles’ describes the wedding ceremony. The women were in white cotton dresses, “their shiny black hair fell well below their waists, as they formed a line and began a stomp dance to the beat of the chanting.” Tingle also describes the wedding song that the men would sing. This song is still sung in Mississippi and Oklahoma today.
“Way, hey ya hey ya Way, hey ya hey ya
You a hey you ay You a hey you ay
A hey ya a hey ya! A hey ya a hey ya!”
When Little Mo led his family to the river, he was afraid to cross it at night. Little Mo’s father told him to be brave because his name was Moses. So Little Mo crossed Bok Chitto and went to Martha Tom’s home. After explaining his story to Martha Tom’s mother, she quickly went to every home in the village and gathered all of the women to perform a ceremony. She told each woman to wear a white dress and bring a candle. As the women lined the edge of the river with the glow of their candles, Martha Tom walked across the water and led the family to freedom. As she led them, she sang the song she had heard the slaves sing at church, but this time she sang it in Choctaw.
Bridges does a beautiful job matching her illustrations to the story. On the cover of the book, four women are in white flowing gowns holding candles. The three women in the back have strong faces with black hair accented with silver. The front girl must be Martha Tom, a younger version of the ladies. At the beginning of the story, Martha Tom is wearing a red dress with a cover apron and leather shoes. Her hair is pulled back in a long braid. The men in the Choctaw tribe are wearing pants, shirts, and boots. One man also has braids while another is wearing a hat. This hat is also worn by the African Americans and the plantation owners. The skin tones used on the people of all backgrounds is represented well. The most moving illustration is the last one. It is the scene of the Choctaw women leading the seven slaves across the river. The women are glowing, giving the appearance that they are angels.
Following the story is a three page spread on the history of the Choctaws today and of the past. Tingles describes how this story, which began as a song, was created.
Reviews
School Library Journal review: “Dramatic, quiet, and warming, this is a story of friendship across cultures in 1800s Mississippi. While searching for blackberries, Martha Tom, a young Choctaw, breaks her village's rules against crossing the Bok Chitto. She meets and becomes friends with the slaves on the plantation on the other side of the river, and later helps a family escape across it to freedom when they hear that the mother is to be sold. Tingle is a performing storyteller, and his text has the rhythm and grace of that oral tradition. It will be easily and effectively read aloud. The paintings are dark and solemn, and the artist has done a wonderful job of depicting all of the characters as individuals, with many of them looking out of the page right at readers.”
Booklist starred review: “In a picture book that highlights rarely discussed intersections between Native Americans in the South and African Americans in bondage, a noted Choctaw storyteller and Cherokee artist join forces with stirring results.”
2008-2009 Bluebonnet Nominee
2006 Teddy Award for Best Children's Book from the Texas Writer's League
Texas Institute of Letters Best Children's Book of 2006
The Great Ball Game: A Muskogee Story
Bibliography
Bruchac, Joseph. 1994. THE GREAT BALL GAME: A MUSKOGEE STORY. Ill. By Susan L. Roth. New York: Dial Books. ISBN 0803715390
Summary
When the animals and birds began to feud about who was better, the crane and bear decided to play a game of ball to determine the winner. “The first side to score a goal will win the argument, and the side that loses will have to accept the penalty given by the other side.” All of the animals divided up into two teams. One side was those who had wings and the other side was those who had teeth. Bat, who had both wings and teeth, asked both teams if he could play. The Birds laughed at Bat and told him that he was too little to help and they sent him away. Bear took pity on Bat and told him that even though he was small he could help.
The two teams began to play the game until it grew dark. Both the Birds and Animals had a hard time seeing the ball. When the Animals thought that Crane was about to reach the poles, Bat took the ball and flew to the other end scoring a goal. After that game, Bat was accepted as an Animal and told the Birds they “must leave this land for half of each year” as their penalty for losing the game.
Critical Analysis
This traditional Muskogee tale has been retold by Joseph Bruchac. In a foreword written by the author, Bruchac explains how ball games have been used to settle the score between feuds. The author shares that many versions of the ball game story have been shared. In this version, Bruchac chose to use the game of Lacrosse to play the game.
The theme of this tale shows that no matter your size, everyone can do their part. When Bat asked the Birds if he could be on their team, the birds laughed at Bat. Feeling sorry for Bat, Bear let him on the Animal’s team, but was told that he would have to let the big animals play first. In the end, it was Bat that made the goal for the Animals. As a result, Bat was considered an animal. Because the animals had won the game, Bat gave the Birds their penalty. He banished them to fly south for half of each year. This comical tale explains why a bat is considered an animal and why birds fly south for the winter.
Susan L. Roth used paper collected all over the world to create the illustrations. Roth used lots of bold colors like reds, blacks, browns, and yellows as backdrops for the paper collages. The animals and birds were comical with big teeth and rackets in their hands.
Reviews
Publishers Weekly review: “This adaptation of a popular Native American story pits Animals against Birds in a contest to settle an all-too-human question: Who's better? Here, it's the teeth versus the wings in stickball, a lacrosse-style game in which the players hold a stick in each hand. When the contestants take their sides, the anomalous Bat, who sports both teeth and wings, is rejected by both teams. Finally, Bear shows sympathy, saying, "You are not very big, but sometimes even the small ones can help." Bat is benched, however, until the Animals catch on to the Birds' obvious advantage: with ball in beak, the Birds fly high above the playing field. But as evening darkness descends, Bat flies into gear to win the game with his elusive, darting aerobatics. As the victor, Bat decrees that the Birds must leave for half the year. And, according to Muskogee legend, this resolution explains why bats are categorized as animals and why birds fly south for the winter.”
School Library Journal review: “In this traditional Muskogee story, the birds and the animals quarrel over which group is better, those with wings or those with teeth. The argument threatens to turn into all-out war, so the creatures decide to settle it by playing a ball game instead. When the game (which resembles lacrosse) starts, no one wants little, weak Bat to play on their side. But in the end it is Bat-with both teeth and wings-who wins the match for the animals. As a result the birds are banished to the south each winter. This porquoi tale is told in clean, spare sentences with the emphasis on action and character.”
Connections
Other stories written by Joseph Bruschac include:
Bruschac, Joseph. 1996. BETWEEN EARTH AND SKY: LEGENDS OF NATIVE AMERICAN SACRED PLACES. ISBN 0152000429
Bruschac, Joseph. 1994. A BOY CALLED SLOW: THE TRUE STORY OF SITTING BULL. ISBN 0399226923
Bruschac, Joseph. 2008. BUFFALO SONG. ISBN 1584302801
Jingle Dancer
Bibliography
Smith, Cynthia Leitich. 2000. JINGLE DANCER. Ill by Cornelius Van Wright and Ying-Hwa Hu. New York: Morrow Junior Books. ISBN 0688162428
Summary
Jingle Dancer is a modern day story of a Muscogee girl who wants to be a jingle dancer. She watches her Grandma Wolfe jingle dance on the TV and begins to practice the steps. When Jenna learns that her dress would not be ready because it needed four rows of jingles, she travels in four directions to find enough jingles so her dress would sing.
Critical Analysis
This modern day story is a wonderful story that intertwines everyday life with Muscogee tradition. Jenna is a young girl who wants to become a jingle dancer like her grandmother.
There were many cultural markers identified in this story. The use of the four directions, east, south, west, and north were used as Jenna went from place to place to gather her jingle bells. The north direction led her back to her Grandma Wolfe’s home. The author also describes the time of the day as Jenna went from each home: “As Sun fetched morning, Jenna danced east-As sun arrived at midcircle, Jenna skipped south-As Sun caught a glimpse of Moon, Jenna strolled west-As Moon glowed pale, Jenna shuffled north.” The use of the number four is used with the directions, number of family members that provided her with jingle bells, and the number of rows of bells sewn onto her dress. In the authors note, Smith tells that many Native Americans believe that numbers are symbolic.
Other cultural markers found in the book include foods, a Muscogee Creek story, the powwow, and regalia worn at the powwow. Jenna is eating fry bread with honey at the beginning of the story and later Mrs. Scott told Jenna that she would be making fry bread and Indian tacos to sell at the powwow. As Jenna asked for jingles from each of the ladies, a line was repeated each time. “May I borrow enough jingles to make a row? Jenna asked, not wanting to take so many that their dress would lose its voice.” Each of the ladies gave her a row of jingles and asked her to dance form them at the powwow. A brief Muscogee Creek story about a bat who one the game was mentioned in the story, too.
The full-color water illustrations captured both modern and traditional images of these Native Americans. Jenna lives in a “contemporary intertribal community.” Their homes line up in a neighborhood and are furnished with typical American furniture and Native American decorations. Jenna wears jeans, a t-shirt, and tennis shoes, and all of the women in the story have dark brown hair with light colored skin. At the powwow, all of the girls are wearing brightly colored dresses, scarves around their necks, moccasin boots, and holding a feather.
An author’s note and glossary of terms is provided at the back of the book. Smith, a member of the Muscogee (Creek) Nation, describes the Muscogee tribe and the importance of jingle dresses.
Reviews
Booklist review: “This contemporary Native American tale highlights the importance of family and community through a young girl's dream of joining the dancers at the next powwow. Jenna is a girl of Muscogee (Creek) and Ojibway (Chippewa/Anishinabe) descent. She has practiced the steps for the jingle dance by following her grandmother's moves on a video. Now she must get enough jingles (traditionally made of tin, aluminum, or gold canning lids rolled into cones) to sew on her dress to make a satisfying "tink, tink" as she dances. The colorful, well-executed watercolor illustrations lend warmth to the story. A note explaining Jenna's heritage and a brief glossary are appended.”
Publishers Weekly review: “Smith, a mixed-blood member of the Muscogee (Creek) Nation, convincingly juxtaposes cherished Native American tradition and contemporary lifestyle in this smooth debut. Van Wright and Hu's (Jewels) lifelike renderings capture the genuine affection between Jenna and these caring older women. Their easy integration of Native and standard furnishings and clothing gracefully complement Smith's heartening portrait of a harmonious meshing of old and new.”
Connections
Other books written by Cynthia Leitich Smith include:
Smith, Cynthia Leitich. 2001. RAIN IS NOT MY INDIAN NAME. ISBN 0688173977
Sunday, October 12, 2008
Tomas and the Library Lady
Bibliography
Mora, Pat. 1997. TOMÁS AND THE LIBRARY LADY. Ill. Raul Colón. New York: Knopf. ISBN 0679804013
Summary
Tomás, the son of migrant workers, lives in Texas during the year with his family while they pick crops and travels to Iowa during the summer where there is work. While Tomás’ parents are in the fields picking corn, Tomás plays ball with his younger brother Enrique. When the two get hot, they sit under the tree to hear stories from Papá Grande. Papá Grande encourages Tomás to go to the public library so that he can teach his family new stories.
Tomás goes to the library and meets the librarian who brings him books on dinosaurs and tigers. Tomás begins to read the books and finds that he enjoys reading. Tomás takes home two books and reads the stories to his Mamá, Papá, Enrique, and Papá Grande. Throughout the summer, Tomás continues to visit the library where he reads new books and teaches the librarian Spanish words. When it is time for Tomás and his family to return to Texas, he brings the librarian pan dulce, sweet bread. In return, the librarian gives Tomás a brand new book.
Critical Analysis
Based on true events, Tomás and the Library Lady is about Tomás Rivera’s childhood experiences as a son of migrant workers. In order to maintain work, Tomás and his family must travel back and forth from Texas and Iowa to work in the fields. The reader is able to gather that the Rivera family is has little money. The Rivera family travel each year in a “rusty old car”, “sleep on cots in the small house that his family shared with the other workers”, “the boys played with a ball Mamá had sewn from an old teddy bear”, and his family would go to the town dump to “look for pieces of iron to sell.”
Mora integrates Spanish words beautifully throughout the story. Both Tomás and Enrique are authentic names, and Tomás talks to his family he calls them Mamá, Papá, and Papá Grande. Phrases such as: “Buenas noches” which means “Good night”, “En un tiempo pasado” which means “Once upon a time,” and “¡Qué tigre tan grande!” which means “What a big tiger!” are used to capture both English and Spanish speaking audiences.
A few other cultural markers evident in the story are the importance of family and education. The reader can tell that Tomás and is family is close. His Papá Grande lives and travels with Tomás and his family. To entertain one another, they sit together and share stories. Also, Tomás and his brother Enrique help their parents by carrying water to them in the fields. Papá Grande encourages Tomás to go to the library so that he can learn new stories to share. Because of his Papá Grande and the librarian, Tomás Rivera became a writer and professor.
Illustrator Raul Colón uses warm browns and golds to capture the lives of migrant workers. Tomás and his family have carmel colored skin and dark brown hair. His Papá Grande has a long mustache and silver hair. The reader can tell that the family is happy when they are together. Several illustrations capture the love that Tomás has for reading. On the very last page, Tomás has his eyes closed, hugging his book, and dreaming of the dinosaurs in his story. “Tomás closed his eyes. He saw the dinosaurs drinking cool water long ago. He heard the cry of the wild snakebird. He felt the warm neck of the dinosaur as he held on tight for a bumpy ride.”
A note about the story is written at the back of the book. This story was based on true events about Tomás Rivera.
Reviews
School Library Journal review: “Here, Mora tells the fictionalized story of one summer in his childhood during which his love of books and reading is fostered by a librarian in Iowa, who takes him under her wing while his family works the harvest. She introduces him to stories about dinosaurs, horses, and American Indians and allows him to take books home where he shares them with his parents, grandfather, and brother. When it is time for the family to return to Texas, she gives Tomas the greatest gift of all?a book of his own to keep. Colon's earthy, sun-warmed colors, textured with swirling lines, add life to this biographical fragment and help portray Tomas's reading adventures in appealing ways.”
Booklist review: “From the immigrant slums of New York City to the fields of California, it's an elemental American experience: the uprooted child who finds a home in the library. Mora's story is based on a true incident in the life of the famous writer Tomas Rivera, the son of migrant workers who became an education leader and university president. Far from his home in Texas, the small boy is working with his family picking corn in Iowa. Inspired by the Spanish stories his grandfather (Papa Grande) tells, Tomas goes to the library to find more stories.”
Connections
Other stories written by Pat Mora include:
Mora, Pat. 1997. A BIRTHDAY BASKET FOR TIA. ISBN 0689813287
Mora, Pat. 1996. CONFETTI: POEMS FOR CHILDREN. ISBN 1880000253
Mora, Pat. 1994. PABLO’S TREE. ISBN 0027674010
Esperanza Rising
Bibliography
Ryan, Pam Munoz. 2000. ESPERANZA RISING. New York: Scholastic Inc. ISBN 043912042X
Ryan, Pam Munoz. 2007. ESPERANZA RISING. Read by Trini Alvarado. New York: Listening Library. ISBN 073933896X
Summary
On the eve of Esperanza’s thirteenth birthday, her life would change forever. Esperanza lived with her parents Romano and Sixto Ortega and her grandmother Abuelito on El Rancho de las Rosas in Aguscalientes, Mexico. She had fancy dresses, beautiful dolls, and a house servant. Esperanza’s life was wonderful until her father was murdered by bandits. After their house was mysteriously caught on fire, Esperanza and her mother secretly fled to California to escape her uncle’s wedding proposal to her mother.
Esperanza and her mother must learn how to do chores and work in the fields to earn enough money to live on. While Esperanza’s mama tries to be happy, Esperanza struggles with her new way of life. But when her mama falls ill from Valley Fever and is placed in a hospital, Esperanza must find the strength from within to make enough money to pay for her mother’s doctor bills. Eventually, Esperanza begins to make friends and has compassion for other migrant workers.
Critical Analysis
Esperanza Rising is set in the 1930’s during the Great Depression. The themes of migrant workers, immigrants, discrimination, and family transcend throughout the story. Many immigrants came to America to find work and be more than just servants. These immigrants worked long hours with little pay. Many of them did not agree with the pay and began to strike. Others had to compete for the small wages they were making. During the Depression, many immigrants were deported back to their homelands and many traveled from camp to camp to find jobs. Segregation was still common during the 1930’s. Miguel explains this to Esperanza. “Americans see us as one big, brown group who are good for only manual labor. At this market, no one stares at us or treats us like outsiders or calls us ‘dirty greasers.’”
Esperanza’s life completely changed throughout the story. Once a wealthy daughter who could have anything she wanted, she is now wearing clothes from the poor box. She encounters several people on her way to California. On the train, she meets a dirty little girl who wants to touch her porcelain doll and a poor widower who was left to raise eight children. She cannot believe that she must ride in the same part of the train with these poor people. Upon arrival at the camp, Esperanza must do her part to help make money. When Esperanza is laughed at for trying to sweep the platform, Esperanza decides that she must learn how to work. After her mother becomes ill, Esperanza begins to work so that she can pay for the doctor bills and medicine. Instead of believing that she is better than all of the others in the campesinos or camp, Esperanza begins to see them for who they are. She sees that they are just trying to make enough money to feed their families and she sees the racial discrimination that surrounds them. In the end, Esperanza understands that to be wealthy does not mean having money, but instead a family to love.
Esperanza Rising is filled with cultural markers. Each chapter is titled in both Spanish and English with the name of a fruit that is being harvested. Fruit was used quite often in the story. Esperanza describes the papaya that her father ordered for her birthday to make Papaya, coconut, and lime salad. She describes the pungent smell after the box had been left still sitting on the patio for many days. “Their overripe sweetness now pervaded the air with each breath of wind.” Other authentic foods were described throughout the story: café and chorizo, tortillas, burritos, Flan de almendra- Almond Flan, and Agua de Jamaica-Hibiscus flower water. Many Spanish words and phrases were intertwined seamlessly throughout the story as well. Miguel would call Esperanza mi reina-my queen when he wanted to tease her, and Esperanza’s mother sometimes referred to Esperanza as mija which means daughter.
Esperanza describes her parents in the beginning. “Mama, tall and elegant, her hair in the usual braided wreath that crowned her head, and Papa, barely taller than Mama, his graying mustache twisted up at the sides.” Once at the campesino, Esperanza describes Mama’s hair, “Mama’s hair ran down her back in a single long braid, almost touching her waist. Mama looked shorter and, somehow, not herself.” Esperanza also describes Silvia, Isabel’s best friend. “A little girl, wearing a man’s undershirt as a dress,” and “Esperanza looked down at Silvia’s dirty hands.”
An author’s note was written in the back of the book. Pam Munoz Ryan based the story of Esperanza on her family’s personal experiences. This story would be a wonderful read aloud. The themes of immigration, Great Depression, discrimination, and family can be discussed. Listening to the story on audio CDs was very helpful. It was enjoyable to hear proper pronunciation of the Spanish words read by Trini Alvarado.
Reviews
Publishers Weekly review: “Told in a lyrical, fairy tale - like style, Ryan's (riding Freedom) robust novel set in 1930 captures a Mexican girl's fall from riches, her immigration to California and her growing awareness of class and ethnic tensions.”
School Library Journal review: “Set against the multiethnic, labor-organizing era of the Depression, the story of Esperanza remaking herself is satisfyingly complete, including dire illness and a difficult romance. Except for the evil uncles, all of the characters are rounded, their motives genuine, with class issues honestly portrayed. Easy to booktalk, useful in classroom discussions, and accessible as pleasure reading, this well-written novel belongs in all collections.”
Booklist review: “Set during the Great Depression, the story weaves cultural, economic, and political unrest into Esperanza's poignant tale of growing up: she witnesses strikes, government sweeps, and deep injustice while finding strength and love in her family and romance with a childhood friend. The symbolism is heavy-handed, as when Esperanza ominously pricks her finger on a rose thorne just before her father is killed. But Ryan writes movingly in clear, poetic language that children will sink into, and the books offers excellent opportunities for discussion and curriculum support.”
Awards
2002-Pura Belpre Award Winner
2001-ALA Best Books for Young Adults
2000-Smithsonian Notable Books for Children
2000-Publishers Weekly Best Book of the Year
Connections
Other books written by Pam Munoz Ryan include:
Ryan, Pam Munoz. 2005. BECOMING NAOMI LEON. ISBN 0439269970
Ryan, Pam Munoz. 2005. MICE AND BEANS. ISBN 0439701368
Ryan, Pam Munoz. 1999. RIDING FREEDOM. ISBN 0439087961
Snapshots From the Wedding
Bibliography
Soto, Gary. 1997. SNAPSHOTS FROM THE WEDDING. Ill. By Stephanie Garcia. New York: G. P. Putnam’s Sons. ISBN 039922808X
Summary
Maya, a flower girl on a wedding day, describes family members and the events that take place at the wedding. She describes Danny “bearing a pillow with rings,” Father Jaime and the yawning altar boy, the beautiful bride, Isabel and Rafael, the groom. Once the wedding ceremony is over, everybody moves to the reception where there is food, cake, and a mariachis band. Through Maya’s eyes, she describes this special occasion of “a wedding to remember.”
Critical Analysis
Both Soto and Garcia have created a wonderful story that captures a little girls experience at a Mexican American wedding. Many cultural markers are found throughout the story. Several Spanish words are used in the story. Soto uses these words in the story without giving the English translation; however, there is a glossary of Spanish words at the beginning of the book. Some of the names like Rafael, Isabel, Marta, Juan, and Maya are Spanish names. Special foods are eaten at the wedding that is culturally authentic. Maya describes how everyone lines up for “pollo con mole, Arroz y frijoles, then some soda or beer.” Maya describes how the mariachis begin, “Trumpet blaring, the guitarrón thumping a beat” and everybody begins to dance. “Then the bride dances for money. Tio Julio pins a twenty on her dress.”
Although this is a Mexican American wedding, there are many elements to the story that many children can relate to. Maya describes playing with the other children at the wedding, dancing on her father’s feet, eating wedding cake, placing black olives onto her fingers, and spilling something on her clothes. These memories transcend through many cultures which is what makes this story so powerful.
Garcia’s use of three-dimensional artwork uniquely displays each of the wedding scenes. Each scene is displayed in a wooden box using clay figures that have been painted. The wedding guests all have brown skin and dark brown hair. She has dressed each of the family members in beautiful fabrics and displayed various objects to go along with each scene. Each of these memory boxes captures Soto’s words.
Reviews
School Library Journal review: “Soto's picture book provides a glimpse into an American cultural tradition?a wedding with a Hispanic flair. Maya, the narrator, is a flower girl. Mariachi musicians provide the music, and for dinner the family and friends eat pollo con mole. There is a glossary for the handful of Spanish terms sprinkled throughout the text. Garcia's illustrations are wonderful. Sculpy clay figures are dressed up and carefully arranged in a wooden shadow box frame, and each page is set on a background of pastel with lace.”
Booklist review: “There's nothing like a wedding, and this book about a wedding is not quite like any other. Soto takes readers to a Mexican American nuptial, and young Maya, the flower girl, is the lens through which the action is seen. All the fun of the event is here: the altar boy with the dirty sneakers under his gown, Maya putting pitted black olives on each of her fingers, the kids whacking one another with balloons. There are the more traditional moments as well--the wedding kiss, the wedding cake, and the toast to the bride and groom. The text's free verse could have been illustrated in many ways, but the choice of three-dimensional artwork was inspired.”
Connections
Other stories by Gary Soto include:
Soto, Gary. 2000. BASEBALL IN APRIL AND OTHER STORIES. ISBN 0152025677
Soto, Gary. 1997. CHATO’S KITCHEN. ISBN 0698116003
Soto, Gary. 1992. THE SKIRT. ISBN 0385905343