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.

THE GREEN GLASS SEA by Ellen Klages

1. Bibliographic data

Klages, Anna. 2006. The Green Glass Sea. New York, N.Y.: Viking. 0-6700-6134-4.

2. Plot summary

The Green Glass Sea is a historical fiction novel written by Ellen Klages. Klages' story revolves around an eleven year-old girl named Duodecima Marie Kerrigan who journeys to live with her father in Los Alamos, New Mexico during World War Two. Known as "Dewey," this little girl thrives on mechanics and loves to learn. The father and daughter live on "The Hill" where chemists, physicists, and mathematicians work together on "the gadget" -- the-A Bomb. Dewey is an outsider in regards to the other children in the camp, but becomes friends with Suze when she lives with the Gordon family while her father goes to Washington. As the scientists complete their magnificent project, Dewey loses her father in a car accident and becomes a part of the Gordon family.

3. Critical Analysis

The Green Glass Sea is a beautiful tale about mystery, life changes, love, loss, friendship, and acceptance. I was very delighted and surprised by this story and count it as one of my favorites in the class so far.

The Green Glass Sea begins in 1943 and ends in 1945. Klages vividly describes the environment within which Dewey lives, starting with the landscape of New Mexico: "One side of the road drops off into a deep canyon scattered with scrubby dark bushes. The walls on the other side of the canyon look like a layer cake that some giant has cut cleanly with a knife. Sheer vertical cliffs are striped in horizontal bands of color, layer after layer of crumbly-looking rock, red and pink and brown, with the green valley below, and the distant mountains turning lavender in the twilight." This description paints a beautiful picture for someone who has never seen such a scene, and shows the reader how different this world is.

Klages also describes the feel of an army camp through Suze's thoughts: "If she stuck her head way, way out the window, she could see mountains and pine trees and the rocky slopes of the canyon and about a million stars at night. That part was okay. Mostly though, when she looked out the window normally, all she saw was laundry and dirt and army-green everything. Green houses, green trucks, green uniforms." Klages' description and Suze's accompanying thoughts reveal what "the Hill" must of felt like through a child's eyes.

These examples of setting - the landscape of the countryside and of the camp - really provide the reader with a sense of life in the camp during World War Two. I felt like Klages did a great job with setting - she did not overload the reader with details, but gave sufficient information to make the reader feel like they were there.

I felt very connected with the main character, Dewey. The story was written through her eyes, except for the parts where Dewey is not thinking, such as when she takes a walk after hearing of her father's death. After Klages has given insight into Dewey's mind, she introduces us to Suze and gives the reader opportunities to become acquainted with her. It was wonderful to know the differences between Suze and Dewey, and then watch as they become close friends. The scene where Suze and Dewey are confronted by the "Girls Scouts" is especially touching:

"[Suze] gripped the wagon handle tighter, and felt Dewey start to move out from under her arm. Suze almost let her go. Because there was still time to--and then she stopped. To what? To pretend that she hadn't been to the dump with Dewey? But she had, and it had been fun."

I absolutely fell in love with Dewey and Suze, and could identify with the childhood issues they were confronting as well as the larger problems in their lives. I shed a tear when Dewey's father died, and was relieved when she was accepted into the Gordon family. Klages' characters are touching and real, although they may never have existed in real life.

As The Green Glass Sea is centered on a child's world, the plot tends to focus on the lives on the children and not the big picture of the A-bomb. The reader only learns about "the gadget" through the children, and we only hear of Franklin's death through the eyes and ears of Suze and Dewey:

"For the rest of her life, Dewey could recall that moment as a series of disconnected memories--the taste of oatmeal-raisin cookies in the back of her throat, a square of yellow-checked oilcloth, the slow, deep voice of Edward R. Murrow, and the almost-painful sensation of Mrs. Gordon's wedding ring pressing into the skin on the back of her hand. Dewey was aware of nothing else."

We live the plot just as the characters do, and we learn how it would feel to live during that time and experience the death of a beloved president. Klages does not overwhelm the reader with details and remains true to the time period. Based on these details and her ability to recreate the events of the past in a manner which evokes feeling and empathy, I feel that Klages use of plot in The Green Glass Sea to be extraordinary.

There are several themes present in this novel. Klages shows that it is important to remain true to yourself and who you are. We should also not be prejudiced of other people. We learn about the power of friendship and love, and we see power of people coming together to fight for the greater good. A big theme during this time period was loyalty, and I think this theme rings true today as well. I feel that there are a great many more themes in this book in addition to these. The Green Glass Sea abounds with meaning and significance, and it will take more than one read to fully understand Klages' message.

A few forms of dialogue are used in this novel, reflecting the diversity present in a group of scientists from all over the world. Dr. Bethe for example, gives insight into his heritage as he speaks to Suze: "We all put in our time...And you, liebchen? How are you tonight?" Other than this example, other languages are not present in the novel. Klages uses many aspects of 1940's language when her characters speak by having them say words such as "snafued" and "fubar," and phrases like "Color me yellow." These words reminded me that these children lived during a different time period, but did not overwhelm or confuse me.

Klages' style was easy to read and I found myself quickly immersed in this book. I absolutely loved it and learned a lot about how it was like to live during that time period. I feel that students and teachers would both learn a great deal about life, relationships, and the A-bomb by reading this book. It is definitely a must.

4. Review Excerpts

"Two girls spend a year in Los Alamos as their parents work on the secret gadget that will end World War II. Dewey is a mechanically minded 10-year-old who gets along fine with the scientists at the site, but is teased by girls her own age. When her mathematician father is called away, she moves in with Suze, who initially detests her new roommate. The two draw closer, though, and their growing friendship is neatly set against the tenseness of the Los Alamos compound as the project nears completion. Clear prose brings readers right into the unusual atmosphere of the secretive scientific community, seen through the eyes of the kids and their families. Dewey is an especially engaging character, plunging on with her mechanical projects and ignoring any questions about gender roles. Occasional shifts into first person highlight the protagonist's most emotional moments, including her journey to the site and her reaction to her father's unexpected death. After the atomic bomb test succeeds, ethical concerns of both youngsters and adults intensify as the characters learn how it is ultimately used. Many readers will know as little about the true nature of the project as the girls do, so the gradual revelation of facts is especially effective, while those who already know about Los Alamos's historical significance will experience the story in a different, but equally powerful, way." - School Library Journal

"In November 1943, 10-year-old budding inventor Dewey Kerrigan sets off on a cross-country train ride to be with her father, who is engaged in "war work." She is busy designing a radio when a fellow passenger named Dick Feynman offers to help her. Feynman's presence in this finely wrought first novel is the first clue that Dewey is headed for Los Alamos. The mystery and tension surrounding "war work" and what Dewey knows only as "the gadget" trickles down to the kids living in the Los Alamos compound, who often do without adult supervision. Although disliked by her girl classmates, "Screwy Dewey" enjoys Los Alamos. There are lots of people to talk with about radios (including "Oppie"), and she has the wonderful opportunity to dig through the nearby dump for discarded science stuff. However, when Dewey's father leaves for Washington, she is left to fend off the biggest bully in Los Alamos. The novel occasionally gets mired down in detail, but the characters are exceptionally well drawn, and the compelling, unusual setting makes a great tie-in for history classes." - Booklist

5. Connections

Related Activity:

After your students read The Green Glass Sea, have them form themselves into groups and research the A-Bomb. After each group presents a project (an oral presentation, a PowerPoint, a poster, etc.), have each student write an epilogue to The Green Glass Sea. Pretending they are either Suze or Dewey, ask students to write how they thought the characters would have reacted to the dropping of the A-Bomb over Hiroshima. How would they have felt? Would they have agreed with what President Truman did? Do you think this event changed their lives? Have students respond freely and honestly.

BARD OF AVON: THE STORY OF WILLIAM SHAKESPEARE by Diane Stanley and Peter Vennema

1. Bibliographic data

Stanley, Diane and Peter Vennema. 1992. Bard of Avon: The Story of William Shakespeare. Ill. by Diane Stanley. New York: Morrow Junior Books. 0-6880-9108-3.

2. Plot summary

Bard of Avon tells the story of William Shakespeare from age five until his death at 52 years of age. Stanley weaves different aspects of Shakespeare's life together such as his family life, his career as an actor, his performance theaters, his dealings with royalty, his favorite actors, specific plays and characters, and much more. Using facts, hypotheses, and theories, Stanley's Bard of Avon attempts to provide the full story of the life of William Shakespeare.

3. Critical Analysis

Tackling any sort of biography that is related to William Shakespeare is a great feat. His life is shrouded in mystery, and scholars and students alike continue to debate matters concerning him and his works. In Bard of Avon, Diane Stanley and Peter Vennema seek to make sense of the confusing life of mastermind.

I feel that Stanley and Vennema are accurate as one can be in their portrayal of Shakespeare. They tell the facts when facts are available, but they also let the reader know where the gray areas lie: "So William Shakespeare went to work, but we don't know what he did. He probably helped his father make gloves, though some people think that he was a schoolmaster's assistant and other that he worked for a lawyer." Stanley and Vennema are accurate in that they let us know about ambiguities.

The significant facts of Shakespeare's life are included: where he grew up, who he married, how he started to write plays, when he wrote plays, etc. I did not feel as if there was a gaping hole in the story. Like the aforementioned example illustrates, Stanley and Vennema have no reservations in stating what is fact and what is theory. Like I said before, I think that this book is as accurate as a biography of Shakespeare could ever be.

The book was sufficiently organized. Stanley and Vennema follow Shakespeare's life as it progresses and interject facts here and there concerning theaters and his plays. I feel like I would have understood the biography better if they had made chapters out of the sections, or at least put headings on the pages. At times, I felt like I was skipping around. There is no index for reference. I found the images that depicted the different parts of the theater to be helpful, but otherwise the pictures weren't necessarily integral to understanding the text. I think that more images and side notes would have made the story more interesting, but, like I said, the text is sufficient as is.

I found the book to be attractive and readable. The font of the text felt very Shakespearean and the pictures showed people in appropriate dress for the period. Stanley's talent for art is showcased in the book, and at times the pictures were more interesting than the text! The pictures made the biography seem like more of a story, which aided in my reading it.

Stanley and Vennema's writing is clear and easy to understand. I would not say that it is particularly lively, but the tone is definitely not boring. They don't talk down, and the vocabulary is easy to comprehend. The authors encourage curiosity and critical thinking as they present all of the different theories revolving around the life of Shakespeare:

"Over the years, there have been people who could not believe that the son of a glove maker, a small-town boy with only a grammar-school education, could have written the greatest series of plays in the English language . . . Historians do not take these theories seriously. Those who knew and worked with Shakespeare during his lifetime never doubted that he had written these plays."

By showing differing view points, Stanley and Vennema give the reader something to think about. The authors also include a postscript that talks about spelling and language during Shakespeare's time. They also include references and titles for additional research. It is obvious that the authors are excited about this subject and want to share it with their readers.

Bard of Avon presents the facts, theories, and fiction of Shakespeare's life and leaves it up to the reader to decide. I would definitely suggest this book as a way for young students to learn about the life of Shakespeare. Beautifully illustrated and informative, this book is a treat.

4. Review Excerpts

"These seasoned raconteurs...neatly piece together the puzzle of Shakespeare's life." - Publishers Weekly

"This is a wonderful book. A fine companion biography to Good Queen Bess (Four Winds, 1990), this life of Shakespeare builds on the methods developed in Bess and Shaka, King of the Zulus (Morrow, 1988). Using the few facts known about their subject, Stanley and Vennema manage a full-bodied portrait of a life and time without resorting to fictionalizing or sloppy speculation. In fact, the book starts with an appealing invitation to examine the historical research process. And, without wasting words in pedantic explanation, it keeps readers on a firm footing regarding the scholarly basis of any assertion. In the course of a brief text, the authors manage to touch not only upon the life but also upon important aspects of many of the major plays. There is even a tantalizing postscript with introductory glimpses of the development of the English language. As with their previous works, the authors provide a short but meaty bibliography. Stanley's distinctive full-color gouache paintings are clearly her own, and just as clearly planted firmly in archival research. They reinforce and expand the text with humor and movement. As icing on the cake, the generous open space and attractive page decoration rival the production given Shaka . Books like these need only be displayed to attract readers. And once opened, they keep their promise. Lucky kids!" - School Library Journal

5. Connections

Related books:

Brown, John Russell. (1982). Shakespeare and His Theatre. New York: Lothrop, Lee & Shepard Books. 068800850X.

Garfield, Leon. (1985). Shakespeare Stories. New York: Schocken Books. 0395861403.

Haines, Charles. (1968) William Shakespeare and His Plays. New York: Franklin Watts, Inc.

Hodges, C. Walter. (1964). Shakespeare's Theatre. New York: Coward, McCann & Geoghegan, Inc.

Stewart, Philippa. (1973). Shakespeare and His Theatre. London: Wayland Publishers.

THE FIGHTING GROUND by Avi

1. Bibliographic data

Avi. 1987. The Fighting Ground. New York: HarperCollins. 0-3973-2073-6.

2. Plot summary

Avi's The Fighting Ground is centered on the world of Jonathan, who lives in a small New England country town. When a band of Hessians is sighted nearby, Jonathan joins forces with the local men and marches to fight. During the conflict, Jonathan runs and is captured by three Hessian soldier, who keep him captive for a few days. When the three men fall asleep in a small cabin, Jonathan escapes with an orphaned boy and meets up again with his comrades. Called to do his duty and reveal the Hessian men's location, Jonathan brings his fellow soldiers back to the cabin. Jonathan attempts to save the Hessians but fails, and all three are killed. Free from his duty, Jonathan returns home.

3. Critical Analysis

Sometimes events like the Revolutionary War can seem very big and impossible to fully grasp and understand - especially for a young child. While simple and void of landmark Revolutionary battles, The Fighting Ground provides readers with a much different experience: a small battle through the eyes of a young boy. This story shows that there is a lot to be learned from even the smallest and seemingly most insignificant events.

While Avi doesn't really describe the countryside in depth, the setting of the story is made apparent in other ways. Through the makeup of the town - the farms, the tavern, and the bell - the reader feels the past. Through the clothing of the soldiers - "fancy blue jacket[s] with red facing, [and] white leggings" - we feel as if the Revolutionary War is taking place. What really stood out to me as being an element of the past were the guns the soldiers used. Long, heavy bits of metal and wood, these weapons are far from what soldiers use today. Although the setting was not described in detail, I feel that Avi gave enough information and description to make one feel as if they were in a New England town in the eighteenth century.

Avi's depiction of Jonathan made it easy to identify with him. As he experiences the horror of battle, we feel his despair as he attempts to escape his enemies: "He ran in terror, straining every muscle, pumping his legs, his arms, not daring to look back. His only salvation was the protection of the woods--he plunged among the trees. Several times the heavy gun almost slipped from his hands. He clutched at it frantically, grabbing it back when it started to fall as if it were the linchpin that held what was left of him together." Jonathan's emotions are made known to us, and his actions are ones that we may have made ourselves - had we been in his situation. Avi makes Jonathan very real for the reader, and we feel as if he really could exist.

Avi makes the story even more real by including the German language. I enjoyed this aspect of the book, although I am not sure that all of the words were used correctly. For example, Avi used the word "fertig" to mean "ready," when it actually means "finished." Other than that, I really liked reading the German and it made me feel like Jonathan was really dealing with a whole different sort of people -- his enemy.

I feel as if the plot was very simple in this book. A lot of the "action" occurs within Jonathan's own head as he seeks to make the correct decisions. Avi doesn't make the story about what happens, but instead focuses on Jonathan's response to what happens. In this way, we live the story along with Jonathan and feel many of the same things he feels. This is a great element to have in a story, especially younger children who need this first-hand experience to really understand.

The main theme in this book is human survival. Through his experiences, Jonathan discovers that it doesn't matter what achievements one might rack up; instead, it's being alive that is the most important: "And suddenly, Jonathan understood more. Understood the most important thing--that he had indeed been spared. Oh, how glad he was to be there. And alive. Oh, alive."

Avi's smooth and descriptive style aided me tremendously when reading this book. I never felt bogged down by historical dates and I found his words easy to read. I especially enjoyed how he divided the chapters into times, and shows the reader how different our two worlds are. While it took Jonathan an hour to walk from the tavern to his home, it takes us an hour to drive seventy miles.

The Fighting Ground is a great story for many reasons. It provides new insight of the Revolutionary War, gives readers a sense of what a young boy would feel like, and plays upon the notion of human survival and compassion. While this theme is relevant in the world today, Avi also shows us how different Jonathan's world is from ours. From the Hessian foreigners, to the young French boy, to the difference in time, to the loading of a gun, our difference are made apparent.

The Fighting Ground is a great little book that can be used to show students a different aspect of the Revolutionary War as well as give them a taste of how a young soldier might have felt. This is a great supplementary book for the classroom and a wonderful quick read for any age.

4. Review Excerpts

"Avi has accomplished his intent: to have readers experience, minute by minute, what it's like to be involved in war." - School Library Journal

"A small stunner." - Bulletin of the Center for Children's Books

5. Connections

Related Books:

Collier, James Lincoln. (2005). My Brother Sam is Dead. New York: Scholastic. 0439783607.

Forbes, Esther . (1998). Johnny Tremain. Ill. by Lynd Ward. New York: Dell. 0440442508.

McGovern, Ann and Thompson, Katherine. (1990). The Secret Soldier: The Story Of Deborah Sampson. Ill. by Harold Goodwin. New York: Scholastic. 0590430521.

FORBIDDEN SCHOOLHOUSE: THE TRUE AND DRAMATIC STORY OF PRUDENCE CRANDALL AND HER STUDENTS by Suzanne Jurmain

1. Bibliographic data

Jurmain, Suzanne. 2005. Forbidden Schoolhouse: The True and Dramatic Story of Prudence Crandall and Her Students. Boston: Houghton Mifflin. 0-6184-7302-5.

2. Plot summary

Forbidden Schoolhouse: The True and Dramatic Story of Prudence Crandall and Her Students relates the story of Ms. Crandall, a Quaker teacher, and her attempts to start the first school for African-American girls. Forbidden Schoolhouse describes how Ms. Crandall decides to start the school, gains support from abolitionists and preachers, recruits young African-American girls from all over New England, and faces the wrath of her town in Connecticut. Jurmain writes of how the school met its demise after two years of studies, and what happened to Ms. Crandall and her students as they went their separate ways.

3. Critical Analysis

On the inside back cover of Forbidden Schoolhouse, Suzanne Jurmain notes that "few people [are] unfamiliar with her [Prudence Crandall's] extraordinary story." When Jurmain describes how she researched Prudence Crandall in her acknowledgements, I saw how an exhaustive search she put on. Because of her efforts and her prior award-winning books for children on historical subjects, I believe that this book's facts -- those that are quoted by the author -- are accurate. Jurmain includes significant facts within her writing, such as a portion of a letter that Crandall wrote to one of her supporters, William Lloyd Garrison:

"Mr. Garrison: The lady that wrote you a short time since would inform you that she is now in town, and should be very thankful if you would call . . . and see her a few moments this evening at 6 o'clock."

While this letter's contents and intent are a fact, there were passages in the book where I wasn't sure if the ideas expressed were the author's or the heroine's. For example, when Jurmain writes about Crandall's support of Garrison, she says "...Garrison needed allies and Prudence was ready, willing, and able to help. Besides, she was a teacher." Did Prudence Crandall really feel this way, or is this sentiment of the author's creation? I did note that Jurmain's captions for pictures often said something like "This may have been what Crandall's classroom looked like" or "This could have been the state of Crandall's room" -- making the distinction between reality and possibility.

I found Forbidden Schoolhouse to be very organized. Jurmain includes a table of contents and index to look up information. This book follows a story, and events take place in chronological order. Jurmain could not find many illustrations, but put what she could in the book. She also included pictures of the school house (which still stands today) to give the reader a feel for the building.

The design of this book is very much like that of a fiction book, sans the real portraits, paintings, and documents. The chapters, spacing of lines, font, and graphics all give the book a historical air. The illustrations and photographs complement the text and give the book the appearance of what it is -- a story about a woman from the past.

I found Jurmain's style very easy to read and follow. There was no point in the story where I was lost or tripped up over the language. Because Forbidden Schoolhouse is written in third person, I did not note any portion of text that showed Jurmain's enthusiasm for the subject. She didn't allow her own feelings to come into play. Because the book's purpose was to tell a story, there aren't really any examples of Jurmain challenging the reader to think clearly or to read more on the topic. Perhaps Jurmain hoped that Forbidden Schoolhouse would encourage readers to seek more information on their own, but she never asks them to.

I really liked this story, and I'm glad that I read this book. It's wonderful that Suzanne Jurmain took the time to research and write Forbidden Schoolhouse, and it's a story that everyone should read. The only problem I have is that there were times that I felt that I was reading historical fiction, not nonfiction. Jurmain did not alter any of the events -- that I know -- but I am not sure if I'm comfortable with how she expressed the emotions everyone was feeling. Jurmain includes many everyday thoughts and activities that occur in Prudence's life, and for some reason I doubt that all of it is factual.

4. Review Excerpts

"Jurmain describes the difficulties Crandall faced when she decided to open a school for African-American females in Canterbury, CT. Although she had the support of William Lloyd Garrison, editor of the antislavery publication the Liberator; Reverend Samuel May, a Unitarian minister; and others, her hard work met resistance in the form of riots, arson, and a jail sentence. Black-and-white photos highlight the key players and the famed schoolhouse. The appendix lists the courageous students who attended the school along with a few facts about them, including how their futures played out after the institution was forced to close. This book offers a fresh look at the climate of education for African Americans and women in the early 1800s. Report writers and recreational readers alike will find it informative." - School Library Journal

"Jurmain has plucked an almost forgotten incident from history and has shaped a compelling, highly readable book around it. In 1831, Prudence Crandall opened a school for young white ladies. When asked by an African American teenager if she might join the class, Crandall, whose sympathies were with the abolitionists, agreed. So begins a jolting episode in which Crandall turned her school into one for girls of color, and is both tormented and sued by the citizenry of Canterbury, Connecticut, who wanted no part of African Americans in their town. Writing with a sense of drama that propels readers forward (and quoting the language of the day, which includes the word nigger), Jurmain makes painfully clear what Crandall and her students faced, while showing their courage as they stood up to those who tried to deter them. Printed on thick, snowy stock and including a number of sepia-toned and color photographs as well as historical engravings, the book's look will draw in readers. Children will be especially pleased by the appended material, which includes an epilogue that tells what became of the principals, as well as source notes for the many quotes." - Booklist

5. Connections

Related Books:

Bausum, Ann. 2005. Freedom Riders: John Lewis and Jim Zwerg on the Front Lines of the Civil Rights Movement. Washington D.C.: National Geographic Children's Books. 0792241738.

Freedman, Russell. 2006. Freedom walkers: The Story of the Montgomery Bus Boycott. New York: Holiday House. 0823420310.

Jurmain, Suzanne. 1998. Freedom's Sons: The True Story of the Amistad Mutiny. New York: Harper Collins. 068811072X.