Review of Follow Follow, by Marilyn Singer

Follow Follow

A Book of Reverso Poems

by Marilyn Singer
illustrated by Josée Masse

Dial Books for Young Readers, 2013. 32 pages.

Like Mirror Mirror, Follow Follow is a book of Reverso poems based on fairy tales. Marilyn Singer created this form. It consists of a pair of two poems. “Read the first poem down and it says one thing. Read it back up, with changes only in punctuation and capitalization, and it means something completely different.”

The beauty of using fairy tales for the reversos is that children will know the stories they are based on (notes in the back explain the basics if any need to be filled in), and will appreciate the implications of the two perspectives.

Some of the poems include the two perspectives of the hare and the tortoise, the emperor and the boy who sees he’s wearing no clothes, the big bad wolf climbing down the chimney and the pig in his brick house waiting for him, the mayor of Hamelin and the Pied Piper.

These are fun to read and clever, and what better way to illustrate that there’s always another side to the story?

marilynsinger.net
joseemasse.com

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Source: This review is based on a library book from Fairfax County Public Library.

Disclaimer: I am a professional librarian, but I maintain my website and blogs on my own time. The views expressed are solely my own, and in no way represent the official views of my employer or of any committee or group of which I am part.

Review of The Anthology of Really Important Modern Poetry, by Kathryn and Ross Petras

The Anthology of Really Important Modern Poetry

Timeless Poems by Snooki, John Boehner, Kanye West and Other Well-Versed Celebrities

by Kathryn & Ross Petras

Workman Publishing, 2012. 256 pages.

Okay, this book is very cynical, very silly, and very, very funny. Small doses are advised, mind you. But as a book to dip into, the whole idea is hilarious.

Here’s the idea. Kathryn & Ross Petras are the editors of the 365 Stupidest Things calendar, so they are well-versed in the stupid things political figures and other celebrities say. They took some segments of speeches too long for the 365 Stupidest Things Calendar, formatted them as poetry, and gave commentary, treating the “poems” as serious works of art.

The result
is
hilarious.

In the Introduction, they start things off like a good scholarly introduction, giving trends:

To help introduce you, the reader, to these fresh new voices, we’ve arranged the anthology by poetic schools. You will be introduced to the poems of the strangely evocative Derrièristes and those of the declining but still impactful Dictator School, among many others. We discuss the more salient tenets of each school, allowing the reader a chance to truly understand the underpinnings of the poems and, perhaps more important, the ethos from which they spring. It is this shared aesthetic and philosophical outlook that draws together and indeed weds such seemingly disparate individuals as actor Tom Cruise, mobster Big Joey Massino, and pop star Miley Cyrus (all members of the Didactic School).

We also discern a fascinating kinship between these modern “versifiers” and their poetic ancestors. We see in Ann Coulter of the Compassionate School a faint whiff of her great predecessor, the shy and gentle recluse Emily Dickinson. We see in Rush Limbaugh, the writer of “Rushbo’s Howl,” another Allen Ginsberg. And, of course, in Rahm Emanuel we see another (Mametesque) Shakespeare.

The astute reader may note that some poets are acolytes of more than one school. Many critics have pondered the reason for this. Upon close analysis, we, the editors, feel this occurs because such large talent cannot be confined within the narrow strictures of one basic philosophy. So we happily find the poet Donald Trump represented not only (unsurprisingly) in the Inflated Ego School, but also (perhaps surprisingly, perhaps not) in the Religious School.

Now, I must warn the reader that a large proportion of the poems found in this volume are just plain crude. But that does make the notion of them as poetry funny, I must admit. It does make it unpalatable to sit down and read this book through in one sitting.

But many, many of these poems are simply silly. As an example, here’s one by Miguel Head (b. 1978) with the caption: “Many critics question the inclusion of Miguel Head in the ‘I’m Rich’ School, as Head is not truly of the wealthy but instead close to them as press secretary to Britain’s Princes William and Harry. So let us create a subset of the “I’m Rich” school specifically for Head — the ‘He’s Rich’ School.”

A Royal Pain

The Prince of Wales
does not employ
and never has employed
an aide to squeeze his toothpaste for him.

This is a myth
without any basis
in factual accuracy.

And here’s one by Jerry Coleman (b. 1924), in the Modern Metaphysical Poets, with the commentary, “Sportscaster Jerry Coleman tackles the core question of ‘beingness’ by provocatively veering into cutting-edge developments of quantum-mechanical entanglement.”

Lines on the Platonic Concept of Being

He just made another play
that I’ve never seen anyone else make before,
and I’ve seen him make it
more often
than anyone else ever has.

Truly silly.
Truly funny.
Reading this book will make you laugh.

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Source: This review is based on an Advance Reader Copy I got at an ALA conference.

Disclaimer: I am a professional librarian, but I maintain my website and blogs on my own time. The views expressed are solely my own, and in no way represent the official views of my employer or of any committee or group of which I am part.

Review of And Then It’s Spring, by Julie Fogliano and Erin E. Stead

And Then It’s Spring

written by Julie Fogliano
illustrated by Erin E. Stead

A Neal Porter Book, Roaring Brook Press, 2012. 32 pages.

As you would expect from Caldecott-winning illustrator Erin Stead, this book is beautiful. This isn’t so much a book for storytime (though it would work for that if the kids could sit up close to see the pictures and the details) as it is a meditative book for sitting with a child in your lap and looking slowly and enjoying the pictures.

This is a book about time passing, specifically the time when winter is finishing up, and you’re waiting for Spring. It’s not particularly a book for southern California (where I grew up), but it’s lovely for more northern climes.

First you have brown,
all around you have brown.

The bundled up boy and dog and turtle (even the turtle has a stocking cap at first!) plant some seeds. They wait and wait. They shed some wraps. It’s amazing how many different scenes Erin Stead makes out of that premise. And the poetry of the lines has its own music.

One page I especially like is:

or maybe it was the bears and all that stomping,
because bears can’t read signs
that say things like
“please do not stomp here —
there are seeds
and they are trying.”

On that page, three bears are in among the plantings, and one bear is scratching himself with the described sign.

On another page, we see creatures that have made tunnels inside the earth as we look at a cross-section, with the boy and a rabbit with their ear to the ground and the dog and the turtle looking at a creature coming out of a tunnel.

and the brown,
still brown,
has a greenish hum
that you can only hear
if you put your ear to the ground
and close your eyes”

But don’t worry! Spring does come.

but the brown isn’t around
and now you have green,
all around
you have
green.

This book has grown on me. The first time I read it, I leafed through it too quickly. This is a book for poring over, for reading again and again, and for sharing with a child.

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Source: This review is based on a library book from the Fairfax County Public Library.

Disclaimer: I am a professional librarian, but I write the posts for my website and blogs entirely on my own time. The views expressed are solely my own, and in no way represent the official views of my employer or of any committee or group of which I am part.

Review of Swirl by Swirl, by Joyce Sidman, pictures by Beth Krommes

Swirl by Swirl

Spirals in Nature

by Joyce Sidman
pictures by Beth Krommes

Houghton Mifflin Books for Children, 2011. 36 pages.

This is a gentle and soothing picture book that rewards reading and examining again and again. The text is unrhymed poetry, with only a few lines on a page, and very large print.

You could read this book to very young children with a short attention span, but it will also work with older children, who can notice new details on each page.

The beautiful pictures were created by Beth Krommes, Caldecott medalist for The House in the Night. She uses the same scratchboard technique here, with more colors. The technique works well for showing spirals, since the lines are distinct and clear.

Here’s the first page. It says:

“A spiral is a snuggling shape.
It fits neatly in small places.
Coiled tight, warm and safe, it waits . . .”

We’ve got a snow scene, but most of the picture is taken up with what’s underground. We see several animals curled up in their nests for the winter, and small print labels them: a bull snake, harvest mouse, eastern chipmunk, and woodchuck. All the animals are resting in a coiled shape.

The next page shows those same animals emerging into a springtime landscape, but the sharp reader will still spot some spirals.

The book goes on, gently and soothingly, showing seashells, ferns, ram’s horns, coiled tails and trunks, spiderwebs, and even gets much bigger in waves, whirlpools, and tornadoes. The climax takes us all the way out to galaxies, and then back to the cozy winter landscape again.

There are even two pages at the back that give some of the science (and math!) behind spirals.

This was one of the books we discussed at the Bill Morris Seminar in January, and my fellow attendees made me appreciate it all the more. It’s the sort of book into which you can delve much deeper than initially meets the eye, a book you and your children will want to look at and read again and again.

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Source: This review is based on a library book from the Fairfax County Public Library.

Disclaimer: I am a professional librarian, but I write the posts for my website and blogs entirely on my own time. The views expressed are solely my own, and in no way represent the official views of my employer or of any committee or group of which I am part.

Review of Edgar Allan Poe’s Pie, by J. Patrick Lewis

Edgar Allan Poe’s Pie

Math Puzzlers in Classic Poems

by J. Patrick Lewis
illustrated by Michael Slack

Harcourt Children’s Books, 2012. 37 pages.

I feel a tiny bit sheepish by how much fun I find in this book. J. Patrick Lewis, Children’s Poet Laureate, has parodied 14 classic poems that children may well be familiar with and has inserted… a math problem.

These problems are not particularly tricky. Though I suppose that depends on the child’s age. (There is some multiplication and division, so this is more for upper elementary grades.) At times it’s not totally clear exactly what they want you to figure out (though that is given in the upside-down answers on the next page). But the parodies are definitely playful.

Could there possibly be a better way to get a kid to do word problems for fun and without fear?

The poems, after the title, list the poem they are inspired by.

Here’s the end of “Edgar Allan Poe’s Apple Pie,” the one inspired by “The Raven”:

I ignored the frightful stranger
Knocking, knocking . . . I, sleepwalking,
Pitter-pattered toward the pantry,
Took a knife from the kitchen drawer,
And screamed aloud, “How many cuts
Give me ten pieces?” through the door,
The stranger bellowed, “Never four!”

Another favorite for me is the one that plays off a poem I love, “Us Two,” by A. A. Milne. Here’s the beginning:

Wherever I am, there’s always Boo.
Boo in the flowers with me.
The size of our garden is eight by two.
“How much wire for the fence,” says Boo,
“If it wraps all around as it ought to do?
Let’s guess together,” says Boo to me.
“Let’s guess together,” says Boo.

With some, like “Robert Frost’s Boxer Shorts,” he goes for silly. “Langston Hughes’s Train Trip” uses some trickier math. “Edward Lear’s Elephant with Hot Dog” is just a limerick.

That should give you an idea of what’s going on here. Some quite silly fun. With math!

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Source: This review is based on a library book from the Fairfax County Public Library.


Review of Guyku, by Bob Raczka

Guyku

A Year of Haiku for Boys

by Bob Raczka
illustrated by Peter H. Reynolds

Houghton Books for Children, Boston, 2010. 48 pages.
Starred Review

At the end of this book, Bob Raczka explains why he wrote Guyku, a collection of haiku for boys.

“Now that I’m a grownup (sort of), I realize that haiku is a wonderful form of poetry for guys like us. Why? Because haiku is an observation of nature, and nature is a place where guys love to be….

“One more thing about haiku: they’re written in the present tense. In other words, whatever happens in a haiku, it’s happening right now. From my experience, guys are always interested in what’s happening right now.

“In case you were wondering, every haiku in this book is about something I did as a boy. Or something I’ve seen my own boys do. It’s the kind of stuff I — along with amazing and inspiring illustrator Peter H. Reynolds — wanted to share with guys like you.”

The poems are wonderful, with a section for each of the four seasons. The illustrations beautifully capture the playful, adventurous spirit expressed in the haiku. I’ll give an example from each season, but please remember that the illustrations make them all the more wonderful!

Spring:

“In a rushing stream,
we turn rocks into a dam.
Hours flow by us.”

Summer:

“Pine tree invites me
to climb him up to the sky.
How can I refuse?”

Fall:

“Hey, who turned off all
the crickets? I’m not ready
for summer to end.”

Winter:

“Winter must be here.
Every time I open my
mouth, a cloud comes out.”

Check this book out and share it with a guy in your life!

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Source: This review is based on a library book from the Fairfax County Public Library.

Review of Won Ton, by Lee Wardlaw

Won Ton

A Cat Tale Told in Haiku

by Lee Wardlaw
illustrated by Eugene Yelchin

Henry Holt and Company, New York, 2011. 34 pages.
Starred Review

This book works both as a collection of short, accessible poems and as an entertaining picture book. The author’s note at the beginning informs us that technically the poems inside are senryu, not haiku. But the syllable format is the same, and I think it was a good choice to use “Haiku” in the title, since that is a term most school children are familiar with.

This book takes us from a cat in a pet store waiting to be bought to a cat in a home with his very own beloved boy. The illustrations show a true cat nature, and so do the poems.

Here are a few I particularly like:

Yawn. String-on-a-stick.
Fine. I’ll come out and chase it
to make you happy.

Scrat-ching-post? Haven’t
heard of it. Besides, the couch
is so much closer.

Letmeoutletme
outletmeoutletmeout.
Wait — let me back in!

Your tummy, soft as
warm dough. I knead and knead, then
bake it with a nap.

Definitely charming. Reading this to a small child will prompt them to look at a cat with new eyes. Reading it to an older child may get them writing haiku of their own.

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Source: This review is based on a library book from the Fairfax County Public Library.

Review of Crossing Stones, by Helen Frost

Crossing Stones

by Helen Frost

Frances Foster Books (Farrar, Straus and Giroux), New York, 2009. 184 pages.

Crossing Stones is a novel in verse about two families who live across a creek from each other during World War I. The book is masterfully and beautifully written. Unfortunately, I’m not a big fan of verse novels. Just hearing the thoughts of the characters from the start, it’s harder for me to picture the characters and the setting. Still, once I got going, I found this to be a powerful and moving story.

Both the families that live across the creek have a brother and a sister. Frank and Emma live on one side, and Ollie and Muriel live on the other. Frank loves Muriel, and Ollie loves Emma, but when World War I starts, Frank goes off to war, and Ollie soon follows, even though he’s only sixteen.

Muriel’s not a fan of the war, like her Aunt Vera, a suffragette. But not being happy about the war is considered unpatriotic, and women are told their place is in the home.

This book includes war, the flu epidemic, the battle for women’s rights, and the day-to-day struggles of farm chores that must go on even when the men and boys have gone to war.

I should have heeded the advice of our local Kidlit Book Club leader and read the “Notes on the Form” at the back of the book first. Helen Frost did something innovative and symbolic. She writes the poems in the voices of Muriel, Emma, and Ollie. Muriel’s poems are written in free style, in the shape of a rushing creek “flowing over the stones as it pushes against its banks” just as Muriel is pushing against the constraints of her society and time.

Emma’s and Ollie’s poems are written to make the shapes of stones. The author explains:

“I ‘painted’ them to look round and smooth, each with a slightly different shape, like real stones. They are ‘cupped-hand sonnets,’ fourteen-line poems in which the first line rhymes with the last line, the second line rhymes with the second-to-last, and so on, so that the seventh and eight lines rhyme with each other at the poem’s center. In Ollie’s poems the rhymes are the beginning words of each line, and in Emma’s poems they are the end words.”

The rhymes are so unforced, I didn’t notice them at all until I read the note at the back. I was impressed when I looked back and found the rhymes, but wish I had noticed from the beginning. Helen Frost also tells us:

“To give the sense of stepping from one stone to the next, I have used the middle rhyme of one sonnet as the outside rhyme of the next. You will see that the seventh and eight lines of each of Emma’s poems rhyme with the first and last lines of Ollie’s next poem, and the seventh and eighth lines of Ollie’s poems rhyme with the first and last lines of Emma’s next poem. If you have trouble finding these rhymes, remember to look on the left side of Ollie’s poems, and on the right side of Emma’s.”

So besides writing a moving story of World War I, Helen Frost has also pulled off an impressive technical achievement.

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Source: This review is based on a library book from the Fairfax County Public Library.

Review of My People, by Langston Hughes, photographs by Charles R. Smith Jr.

My People

by Langston Hughes
Photographs by Charles R. Smith Jr.

Ginee Seo Books (Atheneum Books for Young Readers), New York, 2009. 36 pages.
2010 Coretta Scott King Illustrator Award
Starred Review

My People is a beautiful, glorious, gorgeous book. I can’t adequately speak in its praise. It’s also, I believe, the first time a photographer has won the Coretta Scott King Illustrator Award — but the award is completely deserved, as the images used are stunning and so wonderfully accompany the poem.

The text is the Langston Hughes poem, “My People,” which talks about how beautiful his people are. “The night is beautiful, so the faces of my people…”

Charles R. Smith Jr. uses incredible close-up pictures of African-Americans to illustrate each phrase. The faces are truly beautiful, radiant and glowing. I think my favorite pictures are the ones that illustrate the phrase “are the souls,” with children dancing, completely unself-conscious. But all the people featured — elders, adults, children and babies — are photographed in a way that makes us see the wonder of their joy and humanity. Truly beautiful.

You simply have to see this book to understand how wonderful it is.

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Source: This review is based on a library book from the Fairfax County Public Library.

Review of I Heard God Talking to Me, by Elizabeth Spires

i_heard_god_talking_to_meI Heard God Talking to Me

William Edmondson and His Stone Carvings

by Elizabeth Spires

Frances Foster Books (Farrar, Straus and Giroux), New York, 2009. 56 pages.

Here’s a book that is as distinctive as its subject. It’s a biography of folk sculptor William Edmondson, but the story of his life is told in a series of poems. The poems are based on photographs taken during his life (He died in 1951.) of his sculptures and of himself and of his yard.

The poems are mostly in the voice of the object in the sculpture. Like the sculptures, they are quirky and distinctive and amusing.

A few pages of prose at the end give a summary of William Edmondson’s life and fill in some of the details.

Altogether, the photos and poems in this book add up to a compelling portrait of a man who believed he was doing the work of God.

I’m inclined to agree with him.

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