THE GOLDEN COMPASS by Philip Pullman

1. Bibliographic data

Pullman, Philip. 2003. The Golden Compass. New York: Laurel-Leaf. 0-4402-3860-9 .

2. Plot summary

The Golden Compass begins with the relatively simple life of a little girl named Lyra Belacqua. She lives at Jordan College in Oxford and keeps company with professors and her friend Roger, a kitchen boy. After the visit of Lyra's uncle, Lord Asriel, she is swept up into an adventure. With her dæmon Pan - a manifestation of Lyra's soul in animal form - by her side and her alethiometer in her pocket, Lyra embarks on an adventure to save her friend Roger and other helpless children who have been captured by "the Gobblers." As she journeys north, Lyra makes friends along the way and learns about the evil nature of people such as Mrs. Coulter, who befriends Lyra but only wishes to use the little girl for her own selfish and deluded means. Lyra also learns that she is special and has a certain destiny to fulfill, but she has no idea what this means. Lyra befriends the Gyptians - a nomadic people who swear to protect her - and a polar bear named Iorek Byrnison as she nears her destination. Lyra barely misses the opportunity to save Roger, who is separated from his dæmon and killed by Lord Asriel as he seeks to discover worlds beyond. Lyra is sent to another realm in the sky and her story continues in The Subtle Knife.

3. Critical Analysis

Being a big fan of fantasy and science fiction, I jumped at the chance to read The Golden Compass. An entirely unique and exciting tale, I found this book to be a joy to read. I just couldn't put it down!

Within Lyra's world, I found the plot to be believable and internally consistent. Nothing occurred that did not make sense in the context of the story. Although it was difficult to become acclimated to this new and strange environment in the beginning, I soon became immersed and delighted in Lyra's world of dæmons, talking polar bears, and magical other-worlds. I was never bored and was 100% caught up in Pullman's plot.

Although this is a fantasy novel, it is the people and events that take place in the book that are unreal; the setting isn't necessarily fictional. Lyra lives in England and plays on rooftops and in alleys with other children. She journeys north to the ice and snow, and doesn't meet another world until the very end when she is sent into the realm in the sky. Only at this point does the setting fully take part in the fantasy:

"The city hanging there so empty and silent looked new-made, waiting to be occupied; or asleep, waiting to be woken. The sun of that world was shining into this, making Lyra's hands golden, melting the ice on Roger's wolfskin hood, making his pale cheeks transparent, glistening in his open sightless eyes."

We identify with Lyra, the main character, as she experiences her great adventure. Lyra deals with so many conflicts in this book, and through them so much is learned about her courage and strength. Most of Lyra's thoughts and feelings are illustrated through narration. When Lyra seeks to find the mysterious child in a northern village, we feel her fear:

"She was horribly nervous...Lyra's heart was beating so fast that she could hardly breathe. She raised her hand to knock at the door and then, feeling that that was ridiculous, took a deep breath to call out, but realized that she didn't know what to say. Oh, it was dark now! She should have brought a lantern...There was no choice, and anyway, she didn't want the bear to see her being afraid."

Through passages like these we learn that Lyra has flaws -- she is fearful and wary of danger like any of us would be. However, Pullman gives Lyra such foresight, imagination, courage, and strength that she is distanced from us even though we know her emotions. She does things that we would be fearful of doing -- standing up to a polar bear, devising an escape plan for the children at the Station, and venturing out into an unknown city in the sky. Like Harry Potter, Lyra is a special and set apart from the other children. Although we do not know her destiny, we know that something extraordinary is in store for her in the remaining His Dark Materials series. While I observed growth in Lyra's character throughout The Golden Compass, I think there is so much more for her to learn in the two remaining books.

We learn of other characters through descriptions and actions. Oftentimes, descriptions are contrary to actions. While Lord Asriel and Mrs. Coulter appear to be sane and controlled people, they are both delusion and out of their minds, as evidenced by their selfish and, in my opinion, evil actions.

I think children will enjoy this story. It is a little more difficult than the other books I have read for this class, but nothing too hard. The storyline is incredibly original and refreshing. I especially like the Pullman's creation of dæmons. The plot is original and makes sense, and the climax at the end is very appropriate. I found it sad that Roger dies and that Lord Asriel is who he is. There was no resolution, really, on account of this book being first in the series. Although this book is well-constructed on its own, I believe its story will fit better within the context of the series.

Sadly, I am not very aware of what the theme of this book is. Perhaps I will have a better idea when I have finished the series. I have a few guesses. Perhaps a theme would be that children should enjoy their childhood and not hurry to grow up (they shouldn't feel rushed to commit their dæmon to one form)? Perhaps the sanctity of childhood should be preserved, instead of cutting (or severing it, as it is referred in The Golden Compass) it off too early. I think this is the general idea of the novel, but I could be wrong. I know that there is no moralizing and the theme obviously doesn't overpower the story since I can't seem to think of one!

I found the style of writing to be appropriate for this subject. Pullman's words never struck me as odd, and I found the dialogue natural and suited to the characters. There wasn't an overabundance of narration or dialogue -- both were equally matched. The mood of The Golden Compass -- mystery, wonder, and suspense -- made the book really fun and exciting to read. I was so eager to learn more about Lyra's world, and I wanted to know what was going to happen! Hearing the story from Lyra's point of view is important. In order to fully grasp the meaning of events, it's so important to experience them with someone, like you, who has never experienced them before.

I would recommend these books to anyone. This story is magical and beautiful, and I can't wait to read the remaining two books of the His Dark Materials series. After all, who could resist reading more after the end of The Golden Compass?

"So Lyra and her dæmon turned away from the world they were born in, and looked toward the sun, and walked into the sky."

4. Review Excerpts

"As always, Pullman is a master at combing impeccable characterizations and seamless plotting, maintaining a crackling pace to create scene upon scene of almost unbearable tension." - Publishers Weekly

"A totally involving, intricately plotted fantasy that will leave readers clamoring for the sequels." - Booklist

"This is a captivating fantasy, filled with excitement, suspense, and unusual characters." - School Library Journal

5. Connections

Related Activities:

Ask students to write about what animal form they think their dæmon would take, if they had one. Also ask them to draw a picture of their dæmon and give him or her a name.

Related Books:

Pullman, Philip. 2005. The Subtle Knife. New York: Scholastic. 0-4399-5462-2.

Pullman, Philip. 2005. The Amber Spyglass. New York: Scholastic. 0-4399-5463-0.

THE HIGHER POWER OF LUCKY by Susan Patron

1. Bibliographic data

Patron, Susan. 2006. The Higher Power of Lucky. Ill. by Matt Phelan. New York: Simon & Schuster. 1-4169-0194-9.

2. Plot summary

In this piece of young adult literature, a ten year-old girl named Lucky spends her days concentrating on how to find her "higher power." She hears about others discovering their higher power as she eavesdrops on "twelve step" meetings, and wishes she could find her power just as recovering gamblers, smokers, and drinkers have. When Lucky begins to believe that her guardian, Brigitte, will soon leave her ward and return to France, Lucky hits "rock bottom" and runs away during a sand storm. Hiding out in a dugout near her town of Hard Pan, Lucky discovers her higher power as she releases her dead mother's ashes into the wind. Brigitte adopts Lucky as her own daughter and Lucky stop eavesdropping on the meetings.

3. Critical Analysis

The Higher Power of Lucky, a delightful tale about a young girl trying to find her place in the world, is a beautiful story with an endearing protagonist. I am very glad that I chose to read this book, as I found myself smiling and chuckling with every turn of a page.

In The Higher Power of Lucky, Susan Patron gives the reader the role of confidant. We listen to Lucky as she introduces us to her town of Hard Pan, and we learn about the different odd ball characters that live there. We get to hear her thoughts and opinions about Dot, Sammy, Brigitte, Miles, and Lincoln, and Lucky tells us of her fear of being rejected by Brigitte and her innate desire to discover her higher power. All of these ideas are related through Brigitte's thoughts, her conversations with other characters, and the actions of characters. For example, we learn about Brigitte's annoyance with Miles and her own frustration through their conversation in the following passage:

"'Miles, get a life. You already know the story by heart, and it's boring.'
'No, it's not! The part about the Snort is good, and so is the part where he finds his mother in the end.'
'The bird is an idiot snotwad,' said Lucky. 'He doesn't even know' --Lucky took a breath--"he doesn't even realize that his mother in in jail!'"

This passage tells us how frustrated Lucky is with the idea of Brigitte leaving her, as Lucky acts out against sweet little Miles and says some cruel things about his incarcerated mother. This passage also portrays an attitude and vocabulary indicative of a child of Lucky's age.

Lucky deals with a conflict that affects most human beings -- needing to belong and wanting to be cared for. She mourns the loss of her mother and is very afraid that Brigitte will leave the desert life in California and return to France and its great cheese. After she has run away from all her troubles, Lucky's character grows and changes as she discovers her higher power:

"Suddenly, a breeze came, a little afterthought of the storm, as if, Lucky, thought, some Higher Power was paying attention and knew what was needed. She walked to the edge of the ring of people and flung the remains of her mother up into the air, and everyone watched, singing, as the breeze lifted and carried them out into the great waiting desert."

In this scene, Lucky discovers her higher power and does the right things by letting go of her mother. In the above passage, we see Lucky grow up a little bit. In the next chapter, Lucky plugs up the hole in the Found Object Wind Chime Museum and Visitor center, showing us that she no longer needs to search for her higher power -- she has moved on.

This plot tells a great story and I think children will definitely enjoy it. Lucky is such a wonderful, curious, and delightful little girl, and the way in which Patron writes made me feel like Lucky was my own friend. Lucky is always doing something fun, be it revamping her survival pack, hanging out with Lincoln, talking to interesting characters like Sammy, or creating science exhibits and helpful lists for guardians and birth mothers.

The plot is original and fresh. I have never read about someone searching for their "higher power," let alone a little girl with such an awesome sense of humor. I feel like this story could have actually happened, as many young children seek to belong and find meaning in their life -- especially those who have experienced tragedy and lose such as Lucky. I feel like there is a basis for cause and effect in this story -- Lucky never does anything that I find to be confusing or out of balance with the story. The climax, Lucky releasing her mother's ashes, fits perfectly in with the story and is refreshing response to the preceding occurrences in the plot. I found the plot to be well-constructed, 100% believable and entertaining.

This story takes place in Hard Pan, California, pop. 43 (minus Lucky's mom, but Lucky didn't want anyone to use subtraction on the population sign). The author doesn't indicate the time, but the feeling is that it occurred within the past 15 years at the most. I love how the desert setting doesn't act as a hindrance to Lucky's imagination. She doesn't feel confined by the town or its location in the middle of nowhere:

"Past the town the desert rolled out and out like a pale green ocean, as far as you could see, to the Coso foothills, then behind them, the huge black Coso Range like the broken edge of a giant cup that held tiny Hard Pan at is bottom. The sky arched up forever, nothing but a sheet of blue, hiding zillions of stars and planets and galaxies that were up there all the time, even when you couldn't see them. It was kind of peaceful and so gigantic it made your brain feel rested. It made you feel like you could become anything you wanted, like you were filled up with nothing but hope."

Patron gives the reader the sense that these are Lucky's thoughts about her home, and these poetic descriptions portray the desert as a beautiful, magnificent metaphor for all of life's possibilities.

The themes of needing to belong and finding meaning in life ring through The Higher Power of Lucky. As Lucky tries to recover from her mother's death, she struggles with the possibility of Brigitte leaving her and being on her own. Lucky discovers her higher power when she releases her mother's ashes in the desert wind, even without the knowledge of Brigitte's plans to adopt her. In the end, Lucky has grown up and done the right thing -- letting go of her mother -- without even knowing her own future.

I found Patron's style to be very appropriate for this book and subject. She is straightforward, and the dialogue is natural and suited to characters, as evidenced in the quote used earlier. There was a healthy balance between narrative and dialogue -- I never noticed an overabundance of either. Patron created a mood very akin to that mind of a ten year-old, evidenced in the title of Lucky's manual, which she would write in order that future generations of women would understand how to treat little girls:

"Certified Course in How to Raise a Girl for Guardians and Actual Mothers with Diploma"

Because we read from Lucky's point of view, I think we really appreciate the events of the book moreso than we would have if it had been through Lincoln's or Brigitte's view. We would have never understood the importance of Lucky's releasing of the ashes if we had not been by her side through her experiences every step of the way.

This book was wonderful, and I deem it appropriate for any age. This book ranks among my top five for this course. I loved it, and so will you.

4. Review Excerpts

"When Lucky's mother is electrocuted and dies after a storm, Lucky's absentee father calls his ex-wife, Brigitte, to fly over from France to take care of the child. Two years later, the 10-year-old worries that Brigitte is tired of being her guardian and of their life in Hard Pan (pop. 42) in the middle of the California desert. While Lucky's best friend ties intricate knots and the little boy down the road cries for attention, she tries to get some control over her life by restocking her survival kit backpack and searching for her Higher Power. This character-driven novel has an unusually complicated backstory, and a fair amount of exposition. Yet, its quirky cast and local color help to balance this fact, and the desert setting is fascinating. Lucky's tendency to jump to conclusions is frustrating, but her struggle to come to terms with her mother's death and with her new life ring true. Phelan's cover and line drawings are simple and evocative, a perfect complement to the text. Fans of novels by Deborah Wiles and Katherine Hannigan will be happy to meet Lucky." - School Library Journal

"Lucky, age 10, lives in tiny Hard Pan, California (population 43), with her dog and the young French woman who is her guardian. With a personality that may remind some readers of Ramona Quimby, Lucky, who is totally contemporary, teeters between bravado--gathering insect specimens, scaring away snakes from the laundry--and fear that her guardian will leave her to return to France. Looking for solace, Lucky eavesdrops on the various 12-step meetings held in Hard Pan (of which there are plenty), hoping to suss out a "higher power" that will see her through her difficulties. Her best friend, Lincoln, is a taciturn boy with a fixation for tying knots; another acquaintance, Miles, seems a tiresome pest until Lucky discovers a secret about his mother. Patron's plotting is as tight as her characters are endearing. Lucky is a true heroine, especially because she's not perfect: she does some cowardly things, but she takes pains to put them to rights. " - Booklist

5. Connections

Related Books:

Lord, Cynthia. 2006. Rules. New York: Scholastic. 0-4394-4382-2.

Patron, Susan. 1991. Burgoo Stew. Ill. by Mike Shenon. New York: Orchard Books. 0-5310-5916-2.

Patron, Susan. 1992. Five Bad Boys, Billy Que, and the Dustdobbin. Ill. by Mike Shenon. New York: Orchard Books. 0-5310-5989-8.

Patron, Susan. 1994. Dark Cloud Strong Breeze. Ill. by Peter Catalanotto. New York: Orchard Books. 0-5310-6815-3.

Patron, Susan. 1995. Maybe Yes, Maybe No, Maybe Maybe. Ill. by Dorothy Donahue. New York: Yearling. 0-4404-0969-1.

MONSTER by Walter Dean Myers

1. Bibliographic data

Myers, Walter Dean. 1999. Monster. Ill. by Christopher Myers. New York: HarperCollins. 0-0644-0731-4.

2. Plot summary

Sixteen year-old Steve Harmon, a young black man from Harlem, has been incarcerated and charged with felony murder. As he struggles to deal with life in jail and his impending trial, Harmon decides to write his thoughts and the events of his life as if it were a screenplay of a movie. His screenplay stars Mr. Nesbitt as the victim, Richard "Bobo" Evans and James King as the murderer, Mr. Briggs, Miss O'Brien, and Ms. Petrocelli as the lawyers, other witnesses, Steve's parents and brother, and Steve as the crime's lookout. Steve battles fear of his future, of time spent in jail, and of his past actions and thoughts as the plot moves on. In the end, Steve is given the not guilty verdict and dedicates his time to discovering himself through film.

3. Critical Analysis

Monster is unlike any book that I have ever read before. Having never read any sort of screenplay, spent time in jail, or experienced a murder trial, I learned and was shocked by many things in this book. Although slightly uncomfortable at times, I felt this read was worthwhile.

Steve seems like a pretty normal guy. He likes his parents and his brother Jerry. He spends time with his friend Tony, he enjoys film, and endures the pressures that many other sixteen year-olds feel. James King and Osvaldo Cruz intimidate Steve, and although we never learn the extent of their relationship, it is obvious that Steve struggles with appeasing them and staying true to himself.

I think that if it weren't for the brief asides that illustrate Steve's feelings, it would be hard to vouch for his character in the trial. His words and thoughts portray his feelings and what he is dealing with in jail and during the trial:

"The best time to cry is at night, when the lights are out and someone is being beaten up and screaming for help. That way even if you sniffle a little they won't hear you. If anybody knows that you are crying, they'll start talking about it and soon it'll be your turn to get beat up when the lights go out."

"Tomorrow we start our case, and I don't see what we are going to do. I hear myself thinking like all the other prisoners here, trying to convince myself that everything will be all right, that the jury can't find me guilty for this reason or that reason. We lie to ourselves here. Maybe we are here because we lie to ourselves."

It is these asides that really let us into Steve's mind, and we sympathize with his position. It is on account of these asides that we feel like Steve is not a monster. Myers stays away from stereotyping in this book; instead, he reveals stereotypes that other people may have. This is illustrated through the words of Steve's lawyer:

"Half of those jurors, no matter what they said when we questioned them when we picked the jury, believed you were guilty the moment they laid eyes on you. You're young, you're Black, and you're on trial. What else do they need to know?"

Although it is not pretty, Monster offers a up a "slice of life" with a thick crust of reality. Steve is sixteen and may get 25 years to life in prison. There's nothing funny about that. These events could have really happened, even though most of us would rather they wouldn't. This plot is very easy to follow, especially in the cut-and-dry screenplay format. Filled in with Steve's diary-like asides, the plot is interesting, straightforward, but also rich with feeling. The climax at the end is especially exciting. Like a movie, we hear the music and feel the events occurring in slow motion. I think the screenplay method makes the climax even more exciting.

I think that the theme of staying true to yourself and having foresight are themes in this book, evidenced by Steve's thoughts towards the end of Monster:

"I wish Jerry [his brother] were here. Not in jail, but somehow with me. What would I say to him? Think about all the tomorrows of your life. Yes, that's what I would say. Think about all the tomorrows of your life."

Because of his experiences, Steve has a new perspective of life and its offerings. Once he leaves prison, I feel that he would be much more wary of involving himself with people like King and Cruz, and that he would make better choices.

The style of writing in Monster is really what makes it so interesting and fun to read. I found myself turning the pages at record speed. I don't think you could get more straightforward than a screenplay. I think pairing the story of a trial is perfect for a screenplay: trials are straightforward, no details events and that is exactly how screenplays are (aside from descriptions of people's faces and actions). It was appropriate that Myers included Steve's parents' visits and Steve's inner thoughts in the asides, for this is when his emotions are high and the reader needs to experience his feelings. It is important that we sympathize with Steve, and Myers accomplishes this through these tender, heart-wrenching moments.

These asides also balance narration and dialogue in Monster. Without Steve's thoughts, we only hear the dialogue of the trial -- which would be too overwhelming on its own. Without the screenplay, we don't get the whole picture of the crime, which is necessary to understand the story. Both points of view -- Steve's asides and the screenplay -- work in tandem to deliver a balanced and intriguing story.

Myers creates a mood of suspense, of fear, and of anxiety. I couldn't wait to find out what happened to Steve, and I was most curious as to what really happened at the Harlem drugstore. Sadly, Myers never tells us what really happens. Although that was disappointing, it is indicative of the real world. No one -- except those involved in crimes -- knows what really happens.

The only parts of Monster that made me uncomfortable were the references to rape in prisons. I don't know how I would approach this if I were using the book in the classroom, and I don't know if I would even be allowed to use this in my classroom. During my research, I found some websites with guides of how to use Monster in the English/Language Arts classroom, so hopefully those will be of help.

Monster -- such an interesting and original book -- was a great book to read. I learned so much about a completely different aspect of life. Parents may want to preview this book before giving it to their children, but I wouldn't hinder anyone from reading it. It opens up so many possibilities for writing -- I think children will be inspired to write their own screenplays after reading this book!

4. Review Excerpts

"Steve Harmon, 16, is accused of serving as a lookout for a robbery of a Harlem drugstore. The owner was shot and killed, and now Steve is in prison awaiting trial for murder. From there, he tells about his case and his incarceration. Many elements of this story are familiar, but Myers keeps it fresh and alive by telling it from an unusual perspective. Steve, an amateur filmmaker, recounts his experiences in the form of a movie screenplay. His striking scene-by-scene narrative of how his life has dramatically changed is riveting. Interspersed within the script are diary entries in which the teen vividly describes the nightmarish conditions of his confinement. Myers expertly presents the many facets of his protagonist's character and readers will find themselves feeling both sympathy and repugnance for him. Steve searches deep within his soul to prove to himself that he is not the "monster" the prosecutor presented him as to the jury. Ultimately, he reconnects with his humanity and regains a moral awareness that he had lost. Christopher Myers's superfluous black-and-white drawings are less successful. Their grainy, unfocused look complements the cinematic quality of the text, but they do little to enhance the story. Monster will challenge readers with difficult questions, to which there are no definitive answers. In some respects, the novel is reminiscent of Virginia Walter's Making Up Megaboy (DK Ink, 1998), another book enriched by its ambiguity. Like it, Monster lends itself well to classroom or group discussion. It's an emotionally charged story that readers will find compelling and disturbing." - School Library Journal

"Myers combines an innovative format, complex moral issues, and an intriguingly sympathetic but flawed protagonist in this cautionary tale of a 16-year-old on trial for felony murder. Steve Harmon is accused of acting as lookout for a robbery that left a victim dead; if convicted, Steve could serve 25 years to life. Although it is clear that Steve did participate in the robbery, his level of involvement is questionable, leaving protagonist and reader to grapple with the question of his guilt. An amateur filmmaker, Steve tells his story in a combination of film script and journal. The "handwritten" font of the journal entries effectively uses boldface and different sizes of type to emphasize particular passages. The film script contains minimal jargon, explaining camera angles (CU, POV, etc.) when each term first appears. Myers' son Christopher provides the black-and-white photos, often cropped and digitally altered, that complement the text. Script and journal together create a fascinating portrait of a terrified young man wrestling with his conscience. The tense drama of the courtroom scenes will enthrall readers, but it is the thorny moral questions raised in Steve's journal that will endure in readers' memories. Although descriptions of the robbery and prison life are realistic and not overly graphic, the subject matter is more appropriate for high-school-age than younger readers." - Booklist

5. Connections

Related Activities:
After reading Monster, ask students to write about a vital event that occurred in their life as if it were a screenplay. Then have students divide into groups, where they will chose one screenplay to perform for the class.

Related Books:

Myers, Walter Dean. 2001. Bad Boy: A Memoir. New York: HarperCollins Publishers. 0-0602-9523-6.

Myers, Walter Dean. 1990. The Mouse Rap. New York: Harper & Row. 0-0644-0356-4.

Myers, Walter Dean. 1988. Scorpions. New York: Harper & Row. 0-0644-0623-7.