The Student Body

Have you ever considered that it’s often the changes in a student’s body that determine his or her place within The Student Body? Stupid Fast by Geoff Herbach puts that reality at the center of Felton Reinstein’s story. For his entire 15 years, Felton has been the butt of the jocks’ jokes (they call him “squirrel nuts”). But during a spring gym class, he sprints the entire 600-yard dash, outrunning the best runners. That summer, as Felton continues to get taller and meatier, the jocks claim him as one of their own. Felton’s physique earns him a place with the popular crowd.

The same holds true for young women. The ones who get curvy first draw the attention of their male peers (whether they want it or not) and win the loyalty (or envy) of most girls. They become the popular girls. These changes arrive seemingly overnight, often during the summer, and change everything for those individuals.

Herbach probes the complex feelings of being thrust into a world that was previously off-limits and, in Felton’s case, completely unsought. There are advantages and disadvantages. As his mother falls apart, Felton has another place to go. On the other hand, immersing himself in this alternate refuge can feel like a betrayal to his family. His crush, Aleah, also has a calling and a discipline as a pianist. While he lifts weights, she practices scales. For those of us who were late bloomers, this can be a confounding time, just waiting for your body to “catch up.” You have no control over when the changes will take place or if they will happen in the way that you would like. The book describes the emotional purgatory of not quite belonging where you once did and not quite fitting into a new realm, but moving forward anyway. Sometimes Felton jumps to wrong conclusions, sometimes he’s right. But he has to keep going. And that’s not a bad message either. Felton grapples with the balance between friends and family and his newfound athleticism, and sometimes that kind of mindful grappling is the best we can do.

A Call to Action

It’s difficult to hear messages so frequently about the bleak outlook for our planet. Young people can start to feel saddled with—and even guilty about—problems they did not create. Mark Kurlansky’s World Without Fish, illustrated by Frank Stockton, arms kids with facts, and then the author tells them what they can do to change things for the better.

He provides them with Web sites that list sustainable fisheries (and rates those sites for their effectiveness); they can eat fish responsibly, knowing that these fish populations will continue to thrive. He gives young people concrete steps they can take in their own communities to effect change. He teaches them respectful ways to begin a conversation with the person in charge of the fish department at the grocery store or a waiter in a local restaurant. In the same way that Kurlansky presents the points of view of most everyone involved in trying to address the environment, he also instills respect for all parties involved.

The book does not shy away from worst-case scenarios, but Kurlansky also offers plenty of reasons for hope. He wrote it, in part, for his 10-year-old daughter, Talia. (When you read the book, you’ll notice that the characters in the running comics-style story are Kram and Ailat, Mark and Talia [at right] spelled backwards.) In a recent interview, I got to ask him what he believes is the most important thing we can do to help the planet. He answered, “Participate. The thing I find encouraging about kids is that they keep offering solutions… The most important message in the book for children is… that over the next 40 years more change [will occur] than was witnessed during the 120 years of the Industrial Revolution. They'll get to participate in these changes; I hope they view this as a tremendous opportunity.” What a great way to head into summer, thinking about ways to create positive change.

Who’s in Charge?

One of the things I love most about Mitchell’s License by Hallie Durand, illustrated by Tony Fucile, is that the boy hero believes he is truly in the driver’s seat. The car (Dad) lets him pretty much steer their course. He plays along, and improvises a little (Dad makes the “VROOM!” noise when they “go fast,” and “BONK!” when they literally hit the wall). But when Mitchell tries to get away with something he knows he shouldn’t, Dad puts on the brakes.

In an interview with Hallie Durand and Tony Fucile, they both said they played similar games in their own households. Durand expanded on the “Remote-Control Dad” activity in their home, and Fucile often makes sound effects while bumping into walls (for effect only, no worries). The book joins the ranks of the few other father-child interactive games such as Pete’s a Pizza by William Steig and Jules Feiffer’s The Daddy Mountain. Durand said she was inspired by the “pizza” breaking into laughter in Steig’s book (“Pizzas are not supposed to laugh!” says the pizza-maker father) to have the “car” speak in Mitchell’s License. Now this book can be a jumping off point for you and your child to riff on the game yourselves.

Fathers Know Best

March of the Penguins (2005) is the first film I can think of that informed mass numbers of children about the important role fathers often play in the natural world. They learned that male emperor penguins care for their young while the mothers go out in search of food. Eric Carle’s Mister Seahorse came out before that film (2004), and now it’s newly available in a board book edition. The author-artist is a master of distilling information into its simplest form. Here he exposes an entire undersea community in which fathers care for their unborn offspring.

Mrs. Seahorse lays her eggs in Mr. Seahorse’s pouch, then disappears from the pages. Ever after, it’s Mr. Seahorse protecting his offspring in his pouch while communing with other caretaking fathers in his travels. Mr. Stickleback, a fish, guards the nest he built, where Mrs. Stickleback laid her eggs. Toddlers can see the eggs that Mr. Tilapia keeps in his mouth (therefore he cannot speak but Mr. Seahorse tells us what's happening). Eggs are clearly visible on the belly of the pipefish, Mr. Pipe, and (my favorite), on Mr. Kurtus’s forehead. Transparent “windows” in a few of the board book pages fill in the reeds, coral reefs and seaweed that offer camouflage to other sea creatures. (Eric Carle described how he creates his collage artwork in a recent interview.)

Mister Seahorse is a great way for toddlers to learn about another approach to “child-rearing” in nature, and curious older siblings will scamper off to read more about fascinating creatures such as the Kurtus nurseryfish. It’s a great conversation-starter about the important role both parents play in child-rearing.

Breaking Free

“The inspiration for the novel and the factions were based on my views about human nature, and that virtue as an end in itself may not really be a good thing,” said Veronica Roth of her debut novel, Divergent, in a recent interview.

Virtue as an end in itself may not really be a good thing. The author suggests that by trying to be “good,” whatever “good” may mean to one group or another, we lose something of ourselves. Does “doing the right thing”--if it’s defined by someone else or society at large--mean that we deny who we are? Beatrice Prior, the narrator of Divergent, feels torn when she must choose between the five factions of her society. She knows that if she does not choose her family’s faction, the selfless Abnegation, she will have to leave them behind, possibly forever. But from the very first, Veronica Roth shows us how drawn her heroine is to Dauntless, the faction that houses the soldiers that guard the borders of their society. They are daring, gutsy, even reckless at times.

One of my favorite moments in the book is when Tris realizes that bravery and selflessness are “often… the same thing.” It’s a great way to get teens thinking about what constitutes selflessness and bravery, and how we decide which actions are true to us, and which ones betray our sense of who we are. But she also taps into the idea that there are shades of gray. In that same interview, Roth talked about how we often single out cliques in high school as being damaging to kids, but what about in adulthood? Do we ever really graduate from labeling people? Is there really such a thing as a “good girl” and a “bad girl”? A “stoner” or “jock” or “geek”? Doesn’t everyone have more to him or her than one overriding quality?

Roth also invites readers to look more deeply at their families, friends and classmates. To see that there’s more to them. None of us fits easily into boxes. Most of us are, in fact, divergent. Does that make us “dangerous”? Perhaps only to the people who prefer neat categories.

The Power of Suggestion

As he emulates the artwork of John James Audubon, Doug Swieteck discovers that he cannot paint every feather on the Arctic Tern. Instead, he paints enough lines to suggest countless feathers. He learns that less is more. And his careful attention to detail keeps him firmly planted in the present. He is, as Gary Schmidt’s title suggests, Okay for Now.

Doug is up against some big challenges in the summer of 1968. He is new in town, about to start eighth grade at a new school, his oldest brother is fighting in Vietnam, his middle brother is being accused of burglary, and his father is verbally, often physically abusive. Yet a few key people believe in him. His mother, for one. And at least two teachers. But Mr. Powell may be the greatest influence on Doug. He notices Doug’s interest in the Audubon book at the Marysville Free Public Library, and he approaches Doug. They connect through their mutual admiration for Audubon. The librarian encourages Doug’s curiosity.

How does Audubon do it? How does he create the “terrified eye” of The Arctic Tern? The sense of impending doom in The Snowy Heron? Mr. Powell teaches Doug how to look carefully at these images and discover for himself the strategy for creating the mood in these plates as he sketches them. And as he sketches, Doug discovers a strategy for staying in the moment, finding a sense of calm, quieting the rumblings of what may be waiting for him at school or at home with his father. He begins to apply these tools to other areas of his life, and he begins to change.

In a moment of crisis, Doug figures out the right thing to do because of Audubon’s The Yellow Shank. He "step[s] into the middle of the picture, where he should be, with the light behind him and the dark ahead.” The changes Doug makes begin to ripple through his household. As he begins to expect more of himself, those around him subtly begin to expect more of themselves, too. The power of suggestion transforms Doug into a power of example.

¡Buen provecho!

¡Enjoy your meal! That is the underlying message of The Cazuela that the Farm Maiden Stirred by Samantha R. Vamos, illustrated by Rafael López.

Children love a good story with a cumulative text. They love the repetition, and the idea that this is all building up to an exciting surprise. Samantha Vamos takes “The House that Jack Built” formula and adds a brilliant twist: she uses Spanish words in place of key characters and ingredients; each contributes to a delicious meal. Her story of just enough cooks in the kitchen gives children delectable morsels such as mantequilla (butter) and azúcar (sugar), and introduces the pato (duck) who visits the mercado (market) on the back of a burro (donkey).

When I had a chance to interview Samantha Vamos recently about Cazuela, she said that the phrase “the cazuela that the farm maiden stirred” came to her when she was short of ingredients one cold Chicago morning and fantasized that she lived on a farm where everything she needed would be handy. The phrase reminded her of “The House that Jack Built,” and she was on her way from there. But she also wanted to create a bilingual text, and the repetition of this framework allowed her to introduce Spanish words to children and invite them to practice the new vocabulary through the repeated phrases. She also liked the idea of featuring a meal in which everyone played a part and enjoyed the fruits of their joint efforts (unlike the animals in The Little Red Hen, who won’t help and therefore don’t get to eat the results).

The stunning artwork by Rafael López not only helps give visual clues to the Spanish words, but the artist also makes it seem perfectly normal that a cow would coach a goat, who’s stirring the cream into butter in the kitchen. He includes lots of details to be discovered upon return visits to the book, such as the sun’s moods changing from scene to scene, or the burro’s first appearance. A glossary that helps with pronunciation appears at the end, as well as a recipe for… well, I won’t give it away. But it allows children (with a little help) to prepare a classic Mexican dish just the way the farm maiden, farmer and animals do in the book. And Samantha Vamos also prepared an activity guide with word cards featuring Lopez’s divine illustrations.

Can’t you just see a group of friends putting this on as readers’ theater, and popping up with their word card each time the narrative reaches their part? Vamos said that when she visits schools, the kids like to say the repeated part of the text as quickly as possible, like a tongue twister. And that’s the best part of what books give us: new words to adopt as favorites, exotic words that we can exchange with others—like a great meal prepared and shared together. ¡Buen provecho!