The Ruby in the Smoke

Ruby in the Smoke by Philip Pullman read by Anton Lesser (Random House/Listening Library) ISBN: 1400085128

Plot Summary

Raised by her father (having lost her mother in a gunfight when she was an infant), Sally Lockhart is an independent, intelligent, young woman with skills in accounting, shooting, survival, and a strong ethical foundation.  Her father’s death leaves Sally in a tangled web involving an opium ring, a giant stolen ruby, multiple murders, and a question about her true parentage.  

Critical Evaluation

Pullman does suspense well.  He places a somewhat anachronistically independent and self reliant young girl – Sally Lockhart – into Victorian England.  She is something a teenage Sherlock Holmes.  Sally is also appealing because she is no damsel in distress.  She makes her own way through a vividly imagined landscape with a cast of complex characters.  She has her weaknesses, but she learns (mostly through her friendship with siblings who run a photo shop) that in addition to helping others, she can be reliant on her friends. Anton Lesser is a remarkably strong reader -- he skillfully adds to the suspension of disbelief with his distinct voices for each character. 

Reader's Annotation

When her father dies in a shipwreck, Sally Lockhart must make her own way in Victorian England – living by her wits, making friends with other enterprising young people, and escaping the murderous pursuit of her father’s enemies.  

Genre

Mystery/ Victorian/ Adventure 

Reader's Annotation

Sally Lockhart could provide an interesting counterpoint to characters in stories from the Victorian era such as Robinson Crusoe, Great Expectations.  It might be instructive to read Sally in comparison with Jane Austen's protagonists as well.

Information About the Author

From the author's official webpage: 

I was born in Norwich in 1946, and educated in England, Zimbabwe, and Australia, before my family settled in North Wales. I received my secondary education at the excellent Ysgol Ardudwy, Harlech, and then went to Exeter College, Oxford, to read English, though I never learned to read it very well.  

I found my way into the teaching profession at the age of 25, and taught at various Oxford Middle Schools before moving to Westminster College in 1986, where I spent eight years involved in teaching students on the B.Ed. course. I have maintained a passionate interest in education, which leads me occasionally to make foolish and ill-considered remarks alleging that not everything is well in our schools. My main concern is that an over-emphasis on testing and league tables has led to a lack of time and freedom for a true, imaginative and humane engagement with literature.  

My views on education are eccentric and unimportant, however. My only real claim to anyone's attention lies in my writing. I've published nearly twenty books, mostly of the sort that are read by children, though I'm happy to say that the natural audience for my work seems to be a mixed one - mixed in age, that is, though the more mixed in every other way as well, the better.  

My first children's book was Count Karlstein (1982, republished in 2002). That was followed by The Ruby in the Smoke (1986), the first in a quartet of books featuring the young Victorian adventurer, Sally Lockhart. I did a great deal of research for the background of these stories, and I don't intend to let it lie unused, so there will almost certainly be more of them.  (Pullman, 2009)

Book Talking Ideas

1. Suggest the Sally Lockhart series to teens who enjoyed Pullman’s Golden Compass series.  

2. Draw teens in by playing the opening of the audio recording, read by Anton Lesser.  It’s an engaging, high-quality production.  

Reading Level/Interest Age

7th grade and up 

Challenge Issues

Violence.  Though the use of opium is shown in a very negative light, Sally uses it near the novel's end.  The memory she recovers is essential to overcoming the major conflict of the novel. 

I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

Why did you include this work in the titles selected?

Phillip Pullman’s leads are often strong, intelligent teen girls.  

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips

Pullman, P. (2009). About Philip Pullman. Retrieved from http://www.philip-pullman.com/about.asp

Boondocks

Boondocks Season 1 created by Aaron McGruder (Sony Pictures Home Entertainment) ASIN: B000F8O2QK

Plot Summary

The series is built upon McGruder's earlier newspaper comic strip of the same name, which follows the exploits of the Freeman brothers -- Huey and Riley, who've moved from Southside Chicago to live with their Grandfather in suburban Woodcrest.  Most of the episodes center around the leftist, progressive political views espoused by Huey (named for Huey Newton).  Typically, Huey points out some ridiculous injustice based upon race or religion.  Some episodes focus on Riley (who figures himself as a Scarface figure and even calls himself Riley Escobar).  There is no overarching story, though, there are a number of recurring characters and events that can impact later episodes (often merely as a callback to a joke, but sometimes as plot development).

Critical Evaluation

Many episodes feature commentary on contemporary African-American culture -- though Huey-focused episodes often cut deeper such as "A Date with the Health Inspector," which satirizes the way the U.S. became entangled in the Iraq war shortly after 9-11.  The figures standing in for George W. Bush and Donald Rumsfeld are thuggish trust-fund kids who idolize street life.  While en route to capture the X-Box killer and thus help free Freeman-family friend Tom DuBois (who was wrongly accused of the crime), Rummy and Ed Wuncler III (who wears a big W medallion) take a sharp turn in the wrong direction to get refreshments.  They attempt to steal beer from a convenience store owned by an Arab man.  The owner tries to reason with Wuncler mentioning that he and Wuncler's father are good friends.  Wuncler and Rummy convince a police officer that the clerk is holding a weapon (though he clearly isn't), and the officer shoots him.  McGruder doesn't pull punches.  For instance in the episode "Return of the King," we see an alternate history in which Martin Luther King, Jr. isn't killed but merely enters a decade long coma.  After he comes out against the war in Afghanistan following 9/11, he is nationally reviled.  In an eloquent speech at the episode's end King makes frequent use of the N-word to make his point.  It's both shocking and thought-provoking.

Reader’s Annotation

An irreverent take on popular culture and American politics, Boondocks follows the misadventures of Huey and Riley Freeman after they move from Chicago to the suburbs to live with their granddad.

Information about the author

From an interview in the Washington Post:


What responsibilities, if any, do satirists have to their audience? Are they obligated to deliver a message while also making us laugh? McGRUDER: I don't think anyone can define the rules for satire. We operate with the message -- that's the easy part. Everyone sits at home with their political opinions. The important thing is making it as funny as possible and knowing when to pull back on the message for the sake of the message.... It's indulgent to turn off the audience for the sake of preaching -- the goal is not to turn off the viewer. ... But it can never just [be about the jokes] for me. I'm not like a funny person. I'm not like a comedian. I have things I want to say. ... Bill Maher does find a nice balance between the jokes and tackling the serious issues. So few outlets [offer] those issues in a serious fashion.

Do you think a satirist can influence public opinion, be it a viewer or a voter? McGRUDER: Good satire goes beyond the specific point it's trying to make and teaches you how to think critically. Even when your favorite cartoonist retires or Colbert wraps it up, you're not left believing everything they're telling you. That's probably what you're hoping for as a satirist. 

So how do you go about balancing the message and "the funny"?? McGRUDER: You try to pull inspiration out of everywhere and surround yourself with people who have critical insights. It's not hard to formulate an opinion on things. It's hard to make the viewer or reader [feel] validated. You've got to give them the jokes. Funny is a rare gift.... Early on, I erred on the side of message-driven. Those are the mistakes you learn from. The second season of the show, we tried to make that adjustment. ... Depending on the audience, you've got to really recalibrate. This generation of young people ...music and pop culture has been pretty anti-intellectual. That's a hard thing to overcome. I was careful about not turning off the young kids. They got the Rosa Parks jokes, but the kids love Gangstalicious. 

So what's satire's role at the end of the day? McGRUDER: It's still about imparting a message about the lies a society tells itself. We can all live in collective denial. We can lie to ourselves pretty easily. It's a challenge. Satire is the least commercially viable form of comedy. ... There really is a distaste for being preached at. People have a very low tolerance for it -- newspaper audiences have a way higher tolerance for it than others. But it's tough on TV. (Cavna, 2008).

Genre

Television Series/Political Satire

Curriculum Ties

The show could be used in a class studying current events, popular culture, or the civil rights movement as many episodes discuss Robert Freeman's role in the civil rights struggles.  The show is also an excellent example of satire -- a format required for 11th and 12th grade English classes.

Booktalking Ideas

1. The theme song is fun and gives a strong sense of the show's politics and rebellious nature. Playing it might spark interest.

2. Discussing the show's irreverence might perk up some ears.

Reading Level/Interest Age

9th grade and up.

Challenge Issues

Language, Violence, Political Satire, Adult Themes (one episode features a prostitute and her pimp).

I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

Why did you include this book in the titles you selected?

Two episodes from the first season are some of the finest political satire I've ever seen.  The show is smart, savvy, and deadly funny.  

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips 


Cavna, M. (2008). The invterview: 'Boondocks' creator Aaron McGruder. Retrieved from http://voices.washingtonpost.com/comic-riffs/2008/07/the_interview_aaron_mcgruder.html

What Happened to Cass McBride?

What Happened to Cass McBride? by Gail Giles (Little, Brown and Company) ISBN: 978-0-316-16638-6

Plot Summary

After the suicide of his brother David, Kyle wants to punish and torture the responsible party.  Since Cass McBride had turned David down for a date (and written a disparaging note about him intended for her best friend but intercepted by David), Kyle focuses his anger on Cass.  Kyle kidnaps Cass, and buries her alive (providing oxygen, a means for removing carbon dioxide, and a walkie talkie -- so she'll know why she's being tortured).  Meanwhile Ben Gray and his young partner Scott are rushing to find out who might have kidnapped Cass.  While Kyle's intention may have been torture, what he gets is a conversation: over the course of which he realizes who is really to blame for David's death.

Critical Evaluation

Giles makes use of traveling narrators, distinguished by both font and their name in place of a chapter title.  Kyle and Cass' discourses are in first person.  Kyle is speaking after having been arrested.  Cass speaks (mostly) buried in a crate in a green house.  A third person narrator (with no distinct personality) allows us to follow Ben Gray (a detective)  searching for Cass.  I had trouble determining what message was supposed to be sent by the fonts. Kyle's text is printed in a sans serif -- Charlotte Sans -- which looks like it would be a good web reading font, but is perhaps supposed to indicate his character's lack of control (as serifs are often associated with formality and thus organization or control).  Cass and Ben both have serifs -- Mrs. Eaves and Agfa Rotis respectively.  Agfa Rotis looks the closest to a Times New Roman -- a professional font (the preferred font of the MLA).  Perhaps these serifs indicate that these characters have more control (though ultimately Cass is left in a pretty sad state).  The rotation of narrators and (even more so) the plotting with various chronologies creates the tension for the novel.  My one criticism is that even though Giles shows a willingness to break her initial pattern (a Kyle chapter, a Cass, a Ben) by skipping over some Kyle chapters, the penultimate and antepenultimate Cass chapters actually worked to release tension not build it.  While those two chapters discuss the fleeting light and the absence of pain before death, we know pretty clearly from the mere existence of the chapters that she is not dead.

Reader’s Annotation

After Kyle's brother hangs himself, Kyle is looking for someone to blame.  Will Cass McBride have to answer for David's life? 

Information about the author

From the author's official website:

My last winter in Alaska was a tough one. I had been having a writing crisis. I’m usually kind of upbeat and confident, but some harsh words from a couple of sources had managed to get under my skin and shake my groundwork a little. I was paralyzed when I got in front of the keyboard. A whole new feeling for me.

Add the long dark days of the Alaskan winters and a record snow for Anchorage. More than eighteen feet. I looked out my windows to see nothing but snow. I felt buried alive. Paralyzed by words spoken and paralyzed by words I couldn’t seem to write. The idea of words, used, misused and not used and how they can harm started to percolate. It meshed with entombment and Cass McBride was both born and buried at the same time.

I wrote the first draft in Alaska, then moved to Texas where I did revisions, sold the book and did all the edits. Moved right into the light. (Giles, 2013).

Genre

Horror

Curriculum Ties

The book has been included in the California Department of Education's database of Recommended Literature.  It might work well in an English class; it could spur a discussion of point of view and focalization as the book jumps between perspectives and person.

Booktalking Ideas

1. The different points of view might be enticing.

2. I might read a section of the fourth chapter focalized through Cass: 

Oh, god this was real.
'You've figured it out, huh, Cass?'
His voice snapped me back and I could feel him pace back and forth across my...grave.
'This not-talking shit is just pissing me off, Cass.  You don't want to do that.'
More pacing.
I cried, but no sobs. Quiet tears.
'Push in the button that's under your thumb and talk, Cass. I'm warning you. You won't like what happens if you don't.'
His voice was slow and measured.  Serious as -- well, death.  But I didn't answer.  I couldn't.

And what did he expect me to say? (Giles, 2006, p. 31)

Reading Level/Interest Age

9th grade and up.

Challenge Issues

Language, Violence, a girl is buried alive.

I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.
For this book, I would also discuss the fact that it has been included in the California Department of Education's database of Recommended Literature.

Why did you include this book in the titles you selected?

It was recommended by the instructor during a collaborate session.

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips 

Giles, G. (2006). What happened to Cass McBride?. New York: Little, Brown and Company.

Giles, G. (2013). How I wrote it. Retrieved from http://www.gailgiles.com/How_I_Wrote_Cass_Mc_Bride.html

We Were There, Too!

We Were There Too!: Young People In U.S. History by Phillip Hoose (Melanie Kroupa Books) ISBN: 978-0374382520

Plot Summary

We Were There Too! is a history of the United States that focuses on the contributions and stories young people.  It proceeds as a series of stories about historical figures, opening with the story of Diego Bermúdez who sailed with Christopher Columbus as a page keeping track of watch duty and doing tasks others did not want to.  This first character sketch is far less satisfying than later ones because Hoose has to rely upon the journals of Columbus or other official documents of the time and not much is known about Bermúdez.  Still, it's clear that Hoose is interested in showing the importance of youth to U.S. history from the beginning.  For later accounts Hoose allows the figures to speak for themselves: the story of Terry Grimsey -- a young girl interned with her family at Manzanar -- is entirely in her own words.  The book includes figures we know (or think we know): Pocahontas, John Quincy Adams, Sacagawea, and Bill Gates.  But it includes many figures we might not have heard of including Tom Savage (a boy who lived in 1608 Jamestown and worked as a British Spy); Joe Nuxhall and Anna Meyer (two young people who played professional baseball during World War II: Nuxhall in the MLB where he had to pitch against legend Stan Musial and Anna in the All-American Girls Professional Baseball League); Claudette Colvin (a young girl who refused to give up her seat on a Montgomery bus months before Rosa Parks did; Hoose as written an entire book on Colvin); Ryan White (a boy who contracted AIDS at 13 during a blood transfusion); and many others.

Critical Evaluation

Hoose attempts to provide even handed accounts.  After discussing Columbus's journey and interaction with the native Tainos, Hoose focuses his next segment on the Tainos.  (Columbus does come across as a brutal figure and Hoose dispenses with the lionizing misinformation about Columbus: namely that everyone around him believed the world to be flat and only Columbus believed it was round; instead we get the account that most people believed the world to be round, but some like Columbus thought it was smaller than it is.)  In the story of Pocahontas, Hoose is careful to note that most of the information about her comes from the journals of John Smith.  He also attempts to trace the various motives behind her saving of John Smith's life.  And while allowing later figures to tell their own stories -- like Ryan White and Terry Grimsey -- might seem less than objective for a history book, it's important to recognize that the book's purpose is as much to give young people voice as it is to craft a completely objective look at young people in history.  As Hoose says

The idea to write this book started with a comment made by Sarah Rosen, a girl I interviewed for a book about young social activists entitled It's Our World, Too!  Her school had staged a reenactment of the Constitutional Convention of 1787 without allowing girls to participate.  Her teacher explained that since women hadn't taken part then, girls couldn't take part now.  Sarah responded by taking over the halls with chanting, poster-carrying girls and organizing a counterconvention.  Later, talking to me about her U.S. history class, she remarked, "We're not taught about younger people who have made a difference.  Studying history almost makes you feel like you're not a real person. (2001, p. vi)

The book is engrossing, inspiring, and hard to put down.

Reader’s Annotation

Young people can influence history too; Phillip Hoose shows some who have at many important moments in U.S. history.

Information about the author

From the author's official website:

Phillip Hoose is the widely-acclaimed author of books, essays, stories, songs, and articles, including the National Book Award winning book, Claudette Colvin: Twice Toward Justice.  

He is also the author of the multi-award winning title, The Race to Save the Lord God Bird, the National Book Award Finalist We Were There Too!: Young People in U.S. History, and the Christopher Award-winning manual for youth activism It’s Our World Too!.  

The picture book, Hey, Little Ant which began as a song by the same title was co-authored with his daughter Hannah. The book is beloved around the world with over one million copies in print in ten different languages. Teaching Tolerance Magazine called it, “A masterpiece for teaching values and character education.”  

Phillip’s love of the game is reflected in his acclaimed books, Perfect Once Removed: When Baseball Was All the World to Me which was named one of the Top 10 Sports Books of 2007 by Booklist and Hoosiers: the Fabulous Basketball Life of Indiana.  

A graduate of the Yale School of Forestry and Environmental Sciences, Hoose has been a staff member of The Nature Conservancy since 1977, dedicated to preserving the plants, animals and natural communities of the Earth by protecting the lands and waters they need to survive.  

A songwriter and performing musician, Phillip Hoose is a founding member of the Children’s Music Network and a member of the band Chipped Enamel. He lives in Portland, Maine. (Hoose, 2013)

Genre

History

Curriculum Ties

The book would be a great companion to any U.S. History class; Hoose discusses figures from every major historical event and a teacher could simply use one of his short character sketches to introduce a topic or to add color to it.  Also his book on Claudette Colvin has been included by the California Department of Education in its database of recommended literature.  So his work is recognized as high quality for an educational setting.

Booktalking Ideas

1. The individual sketches are rather short, reading one may be enough to engage your audience.

2. Focus on Hoose's mission by including the story about Sarah Rosen that I discuss in the critical evaluation above.

Reading Level/Interest Age

7th grade and up.

Challenge Issues

I wouldn't expect challenges, but the book does deal with areas of U.S. history that some may be sensitive about -- the Spanish destruction of native people, Japanese internment, etc.  So some patrons may claim that it is anti-American.  I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

Why did you include this book in the titles you selected?

I included this book because I'd read his work on Claudette Colvin for the tween materials class and thought that his work would be engrossing enough for older teens to enjoy as well. 

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips 

Hoose, P. (2001). We were there, too!: Young people in U.S. history. New York: Melanie Kroupa Books.

Hoose, P. (2013). About. Retrieved from http://philliphoose.com/about/ 

Comics and Sequential Art

Plot Summary

Eisner's Comics and Sequential Art is an analytical treatise on the ways to make meaning in sequential art (of which comics are a form; he also groups film and animation in sequential art, but focuses mostly upon the format which made him famous).  He begins by establishing comics as a form of reading that is not really so different from reading a book.  He discusses the notion that decoding pictures and symbols is also a mode of reading.  In part he does to establish a legitimacy for sequential art and in part to show that reading images and pictures has a long history.  The second chapter proceeds to show the ways that imagery can tell a story without using words.  The third chapter deals with the way that sequential artists are able to indicate the passage of time and the way that they frame speech.  He discusses framing via the use of panels; using anatomy to express emotion; what it means to "write" sequential art (more than simply filling in the word balloons, composition is also placement of imagery, panels, etc.); denotes uses of sequential art (including its use as storyboard); and then in one of several updates, the book ends by discussing sequential art in the digital age.

Critical Evaluation

I thought perhaps that the book would be a simplistic how to, showing how to draw boxes and fill them in with your characters and settings.  It had clearly been awhile since I'd read A Contract With God, because I had forgotten how sagacious a mind Eisner possessed.  The book is thoroughly engrossing: Eisner relates how subtle changes create dramatic shifts in meaning.  An image in stark black and white contrast (a silhouette against a background) says something far different than an image lit to show detail.  The number, shape, and size of panels can speed or slow a reader's pace.  The shape of the panel shapes understanding, signals location, suggests the size of a space, and indicates time (as in flashback).  The book is truly a lesson not in how to make drawings, but in how to make drawings mean.  The book is filled with detailed descriptions explaining choices that Eisner made in his own work that brilliantly analyze the key features at play.  Reading Eisner's work after reading this book shows precisely why the greatest award available for sequential artists is called the Eisner.

Reader’s Annotation

If you are serious about making graphic novels on par with the masters, this book is necessary.  If you just want to slap some pictures on a page like Rob Leifeld, you can skip it.

Information about the author

From the author's official website: 

WILL EISNER was born William Erwin Eisner on March 6, 1917 in Brooklyn, New York. By the time of his death on January 3, 2005, following complications from open heart surgery, Eisner was recognized internationally as one of the giants in the field of sequential art, a term he coined.  

In a career that spanned nearly seventy years and eight decades — from the dawn of the comic book to the advent of digital comics — he truly was the 'Orson Welles of comics' and the 'father of the Graphic Novel'. He broke new ground in the development of visual narrative and the language of comics and was the creator of The Spirit, John Law, Lady Luck, Mr. Mystic, Uncle Sam, Blackhawk, Sheena and countless others.  

One of the comic industry's most prestigious awards, The Eisner Award, is named after him. Recognized as the 'Oscars' of the American comic book business, the Eisners are presented annually before a packed ballroom at Comi-Con International in San Diego, America's largest comics convention. (Will Eisner Studios, Inc., 2013)

Genre

Drawing Technique and Analysis

Curriculum Ties

This book would be wonderful in an art class, especially a progressive one in which students are studying sequential art.  The book's analysis clearly reveals how subtle and sophisticated sequential art can be.

Booktalking Ideas

1. The blurb from Neil Gaiman might help sell the book: "When I decided I wanted to write comics, I bought a copy."

2. For some teens the very scholarly take on comics may be a turn off, but this is precisely what makes this books so remarkable, so it is worth playing up.

Reading Level/Interest Age

9th grade and up. 

Challenge Issues

Contains scenes from many Eisner comics including depictions of violence, sex, alcohol abuse, and strong language.

I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

I would use this book to defend graphic novels, anime, manga, and comic books in the library.  It's a brilliant work; though, it may be over the heads of some teens.

Why did you include this book in the titles you selected?

I picked the book up when I found out I'd be presenting on graphic novels, anime, or manga.  Though I was ultimately assigned the anime portion of the assignment, the book really stuck with me as a powerful tool for talking about comic books.  This book would be an amazing part of a defense file for any work of sequential art.

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips  

Will Eisner Studios, Inc . (2013). A short biography.  Retrieved from http://www.willeisner.com/biography/index.html

 

How to Survive Modern Art

How To Survive Modern Art by Susie Hodge (Tate) ISBN: 978-1-85437-749-4

Plot Summary

How To Survive Modern Art is a concise work that provides some context and discussion of modern art from its roots in impressionism and earlier influences through digital art.  The sections are brief and written plainly; they include many pictures of works with descriptions and context about them.  Each section includes a panel titled "Art in Context" that suggests questions to ask or gives important background for understanding the movement or artist.  Art is always produced in reaction to something -- an emotion, an event, a political intrigue.  But when art was representative, it was less important that we knew the "message" of a work or even its context to understand it.  Hodges makes clear that with non-representative art this artistic vacuum has been burst.  It's imperative to know about the historical or political or philosophical context of a work.  Important movements and artists in the book include: Fauvism, Cubism, Dada, Constructivism & Suprematism, Chagall, Mondrian, Bacon, David Hockney, and Damian Hirst.

Critical Evaluation

How To Survive Modern Art really lives up to its name.  It feels almost like a phrase book you should carry with you into the foreign land of the gallery or art museum.  Hodge's includes yellow insert boxes called "Art in Context."  They frequently give suggestions for questions you can ask of a work.  My favorite questions come in the section on the Young British Artists: 

Does the work have a deeper meaning? If so, what?  If there are meanings, are they worth searching for? How can you tell a good idea from a bad idea?  Now think of it this way: Does it matter if there are no extra meanings? Just because you could have done the work, does that make the work bad or not art?  If you could have done it, does it mean you can take part more? (You might think, 'I'd have done it like this' or 'fancy doing that!' and so on). Is it meant to be taken seriously? A lot of art is meant to make us smile or even laugh.

Like a phrasebook, though, How To Survive Modern Art has its limitations.  The amount of space dedicated to each section is rather small -- just enough for a taste test.  It can't substitute for an art history class or for trips to the gallery.  But the book (and the price of admission) is enough to get your foot in the door.

Reader’s Annotation

Baffled by modern and contemporary art?  Do you want to know why something that looks like a three year old painted is considered an artistic statement? How To Survive Modern Art can help.

Information about the author

From the author's official website:

Welcome to my website. I'm an author, art historian, historian and artist. As well as non-fiction books for adults and children (currently I have over eighty in print), I also write articles, resources for galleries and museums, and I paint and illustrate.   

Originally a copywriter for the advertising agencies Saatchi & Saatchi and JWT, I began freelancing as a creative consultant, author, journalist and artist, as well as teaching, when my two children were young.  

I've taught in schools and colleges on various subjects; I have been in TV documentaries and on radio programmes and I give talks and lectures all over the country.  

Additionally, I run writing and painting workshops and demonstrations for all age groups and abilities. I have an MA in the History of Art from the University of London, and am an FRSA.  (Hodge, 2013).

Genre

Art History

Curriculum Ties

The book would be a good supplement to an art history class (regardless of whether the class reached as far forward into history as the book does).  It might also be useful for inspiring students in an art class.  They might model works after works in the book or apply the philosophies or concepts to their own work.

Booktalking Ideas

1. Many of the works are arresting or confusing, they would provide a good hook.

2. The questions and contexts that Hodges presents may be useful in getting your audience thinking about why they should even be interested in this book.

Reading Level/Interest Age

9th grade and up.

Challenge Issues

Some of the artwork may be controversial or shocking.  There are some nudes and depictions of violence.
 
I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

Why did you include this book in the titles you selected?

As a lover of modern art I realize that sometimes in order to appreciate it, you need some background or context.  This book can help provide a bit of that.

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips 

Hodge, S. (2013). Home. Retrieved from http://www.susiehodge.co.uk/
 

Doing It Right

Doing It Right: Making Smart, Safe, and Satisfying Choices About Sex by Brownen Pardes (Simon Pulse) ISBN: 978-1-4169-1823-3

Plot Summary

Doing It Right is based upon questions that teens have asked sex educator Brownen Pardes.  The book very frankly discusses a number of issues regarding sex including a definition of sex, a brief description of anatomy in plain language, protection, sexual orientation, masturbation, rape, and resources for many of these issues.  Most chapters have a question and answer section, in which Pardes answers some frequently asked quesitons such as "Can I have sex during my period?" "What's a urinary tract infection?" or "If a guy doesn't have an orgasm for a long time, does the semen build up inside him? Could something bad happen?"  

Critical Evaluation

Pardes is very frank and nonjudgmental.  The approach will likely be very refreshing to many worried teens.  Some parents may be relieved to know that Pardes notes that the only sure fire way to avoid pregnancy and STDs is abstinence, though parents should be aware that Pardes discusses far more than mere abstinence.  As she warns teens who think that their decision to be abstinent means that they needn't know about safe sex: "if you don't end up sticking to the decision to be abstinent, and you have sex without planning to, you might not know how to do it safely" (Pardes, 2007, p. 3).  And so Pardes explains important information about avoiding STDs and unwanted pregancy, but also how to avoid injury during anal sex, and how to masturbate without injuring yourself or getting an infection (boy's ought not use vacuum cleaners; girls should wash anything they insert in their vagina).  Importantly, she also talks about myths around rape: such as victim blaming, and how to avoid being slipped a date rape drug.

Reader’s Annotation

If you think you might be ready for sex, or you want to be ready one day, this may be the book for you -- especially if you are too embarrassed to talk to a parent or someone else about it.  The only way to be safe is to be knowledgeable.

Information about the author

From the author's official website:

After years of teaching sex education in middle schools, high schools, and colleges, Bronwen Pardes has heard it all and blushes at nothing. Doing It Right offers down-to-earth, tell-it-like-it-is answers to the questions teens have been asking her for years. It’s one of New York Public Library’s “Books for the Teen Age” and an American Library Association Quick Pick for Reluctant Young Adult Readers, and it’s on the Voices of Youth Advocates Non-Fiction Honor List.

Pardes holds a bachelor’s degree from Vassar College and a master’s degree in human sexuality from New York University. She has served as an expert for the websites TeenHealthFX.com and sexetc.com, which answer teens’ questions about sex.  She currently teaches human sexuality courses at Brooklyn College and LaGuardia Community College in New York. (Pardes, 2013).

Genre

Sexual Education

Curriculum Ties

The book would be a great supplement to sex education especially since sex education often raises more questions than it answers.  This book is unafraid to answer questions and may very literally be a life saver. 

Booktalking Ideas

1. Talk about how frank the author is.

2. Share some of her answers to frequently asked questions (even if the kids don't check the book out, they may learn something about sexual safety).

Reading Level/Interest Age

9th grade and up.

Challenge Issues

Sex: the whole book is about it in a very frank way.

I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

Why did you include this book in the titles you selected?

I included this book because we'd has some discussions on the forum about the depictions of sex in novels aimed at teens.  A few classmates were unhappy with the idea that sex might be described in detail in a novel or that teens might turn to novels to learn about sex.  I thought it would be good to have a handle on what some good nonfiction books about sex aimed at teens might be -- precisely because most of the novels we discussed did not speak particularly frankly about sex or would do so in a heteronormative way or feature characters immediately punished for having sex (by pregnancy or death). 

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips 

Pardes, B. (2007). Doing it right. New York: Simon Pulse.

Pardes, B. (2013). About me. Retrieved from http://bronwenpardes.com/?page_id=14

Slaughterhouse Five

Slaughterhouse Five -or- The Children's Crusade by Kurt Vonnegut (Laurel) ISBN: 0-440-18029-5

Plot Summary

Billy Pilgrim survives the firebombing of Dresden in World War II.  After being kidnapped by Tralfamadorians -- aliens who look like plungers with a hand at the top of the handle and eye in the middle of the palm -- Billy becomes unstuck in time.  Throughout the novel he bounces around between his work as an optometrist, his marriage, the marriage of his daughter, his time in a Tralfamdore Zoo, his own death, time in a hospital after a plane crash, and Dresden.  He also reads several books by (and eventually meets) the science fiction writer Kilgore Trout.  Indeed many of the adventures that Billy Pilgrim have bear an odd resemblance to Trout's work.

Critical Evaluation

Slaughterhouse Five is a very unusual book.  It opens and closes with a narrator talking about his experiences attempting to write a book about Dresden, and in the intervening pages we see Billy Pilgrim flitting about from moment to moment of his life.  While we might expect such a journey to be constantly informed by Billy's war experience (more people died in the Dresden firebombing than at Hiroshima), this only seems to partially inform later events.  He tells stories about the man he saw executed for stealing a teapot, and Weary who blamed his death on Billy, and Lazarro who vowed to avenge Weary's death (and, in a particularly unusual scene, carries out his promise.  The scene is set in 1976 in an American divided into several countries; it's the one moment in the book where Billy's ability to predict what will happen based upon his condition of being unstuck in time can be questioned.  While the book was written in 1969, it seems highly unlikely that Vonnegut really believed that the U.S. would be so divided in only 7 years.  So, this moment stands out -- we can call into question Billy's sanity more so than at any other time, and we have to ask if our narrator is reliable or not).  The overall effect interestingly, is that we see Billy in much the way Trafalmadorians might as a figure alive in some moments and dead in others.  The book presents a kind of character sketch as symbol of the absurdity of war.  And even this commentary is subtle.  Billy himself believes that it was necessary to bomb Dresden and pities the pilots who had to do it.  Like everything else in the novel, his views are ambiguous.

Reader’s Annotation

Billy Pilgrim experiences his life by jumping into different moments in time; he lingers long on the Dresden fire bombings by the U.S. in World War II.

Information about the author

From the author's official website:

Most readers interested in the fantastic in literature are familiar with Kurt Vonnegut, particularly for his uses of science fiction. Many of his early short stories were wholly in the science fiction mode, and while its degree has varied, science fiction has never lost its place in his novels.
 
Vonnegut has typically used science fiction to characterize the world and the nature of existence as he experiences them. His chaotic fictional universe abounds in wonder, coincidence, randomness and irrationality. Science fiction helps lend form to the presentation of this world view without imposing a falsifying causality upon it. In his vision, the fantastic offers perception into the quotidian, rather than escape from it. Science fiction is also technically useful, he has said, in providing a distance perspective, "moving the camera out into space," as it were. And unusually for this form, Vonnegut's science fiction is frequently comic, not just in the "black humor" mode with which he has been tagged so often, but in being simply funny. (Reed, 1999).

Genre

Classic/Adult Crossover/War/Science Fiction

Curriculum Ties

The book would be ideal in an English course or in a class on World War II or Vietnam -- it discusses both wars, and does so in a manner that is questioning but not so clearly critical.  In other words, it forces the reader to engage with the ideas and decide what they mean.  The book has also been approved by the California Department of Education as part of their database of Recommended Literature, where it is suggested for use in history and social science courses. 

Booktalking Ideas

1.  Focus on the humor.

2. Discuss the interaction of historical account and science fiction.

Reading Level/Interest Age

9th grade and up.

Challenge Issues

Violence, Sex, Language, Alcohol use.

I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

I would also discuss this book's inclusion in the California Department of Education's list of Recommended Literature.

Why did you include this book in the titles you selected?

I originally read the book when I was 16, and was trying to think back to titles that I'd enjoyed as a teen that I thought teens might still enjoy.

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips 


Reed, P. (1999).  Kurt Vonnegut's Fantastic Faces. Retrieved from www.vonnegut.com/artist.asp

The Picture Of Dorian Gray: An Annotated, Uncensored Edition

The Picture Of Dorian Gray: An Annotated, Uncensored Edition by Oscar Wilde edited by Nicholas Frankel (The Belknap Press of Harvard University Press) ISBN: 978-0-674-05792-0

Plot Summary

Basil Hallward smitten by the attractive Dorian Gray paints his masterpiece: Gray's portrait.  While sitting for the painting Gray is introduced to Hallward's friend Lord Henry Wotton who espouses decadent ideals concerning all topics (he sees altruism, duty, and selflessness as vices).  Lord Henry stirs some unusual feeling in Gray.  When Gray sees Hallward's portrait, he wishes that he could remain forever young and the portrait would age in his place.  His prayer is answered.  After he jilts his first love Sibyl Vain, the portrait shows mars, and Gray hides the portrait in an attic room.  Under the tutelage of Wotton, Gray leads an increasingly decadent life and the portrait becomes more hideous.

Critical Evaluation

The annotated, uncensored edition presents Wilde's original manuscript.  It was quite heavily edited for publication to obscure some of its gay themes.  It also provides a series of annotations that really help provide context for the work.  While the book could be read as a simple morality tale, the context of Wilde's life and imprisonment for his gay lifestyle really complicate the issues and make a reader ponder just what Wilde's purpose was: was it condemnation of decadence or a critique of a society that forces its citizens to live double lives.  The annotations do often seem written for the academic reader, though, and some spoil the story's ending.

Reader’s Annotation

Dorian Gray is beautiful and he seems not to age, but in his attic a mysterious portrait of him seems to bear all of the effects of time that he does not.

Information about the author

From the Oscar Wilde Society (reproduced from numerous sources, including primarily Merlin Holland's Oscar Wilde: A Life In Letters): 

1854:    Oscar Fingal O'Flahertie Wills Wilde born in Dublin  

1864-71: Studies at Portora Royal School, Enniskillen  

1871:    Begins studying Classics at Trinity College, Dublin  

1874:    Begins studying Classics at Magdalen College, Oxford 

1878:    Wins Newdigate Prize for his poem 'Ravenna', takes BA degree 

1879:    Settles in London 

1881:    First edition of his Poems published  

1882:    Lectures in the USA and Canada all year 

1883:    Writes The Duchess of Padua  

1884:    Marries Constance Lloyd after 6 month engagement, settles in Chelsea (London) 

1885: First son, Cyril, is born; Wilde writes reviews for the Pall Mall Gazette  

1886: Second son, Vyvyan, is born 

1887: Becomes editor of The Woman's World; 'The Canterville Ghost', 'The Sphinx Without a Secret', 'Lord Arthur Savile's Crimes', and 'The Model Millionaire' are published  

1888: 'The Happy Prince and Other Tales' is published 

1889: 'The Decay of Lying', 'Pen, Pencil and Poison', 'The Birthday of the Infanta', and 'The Portrait of Mr. W. H.' are published; Wilde gives up editorship of Woman's World 

1890:    First version of The Picture of Dorian Graypublished in Lippincott's Monthly Magazine. 'The Critic as Artist' published 

1891: 'The Soul of Man under Socialism', 'Intentions', and 'A House of Pomegranates' are published; Wilde meets Lord Alfred Douglas (Bosie); writes Salome in Paris  

1892:    Lady Windermere's Fan produced at St. James's Theatre; Salome is denied a licence for performance; Wilde writes A Woman of No Importance  

1893: Salome is published in French; A Woman of No Importance is produced at Haymarket Theatre; writes An Ideal Husband; Lady Windermere's Fan is published 

1894: Salome published in English translation; The Sphinx published; and A Woman of No Importance published  

1895: An Ideal Husband produced at Haymarket Theatre; The Importance of Being Earnest produced at St. James's Theatre. Wilde finds Marquess of Queensberry's card at Albermarle Club; obtains warrant for Queensberry's arrest on a charge of criminal libel ; Queensberry goes on trial and is acquitted; Wilde is arrested, charged with gross indecency, convicted, and sentenced to two years' hard labour. Imprisoned at Pentonville, transferred to Wandsworth and finally to Reading Gaol. In November declared bankrupt.  

1896: Death of his mother, Lady Wilde; Salome is produced in Paris  

1897: Writes De Profundis ; is released from prison, adopts the name Sebastian Melmoth, settles first in France at Berneval; later joins Lord Alfred Douglas in Naples  

1898: Moves to Paris, The Ballad of Reading Gaol is published; death of his wife, Constance  

1899: The Importance of Being Earnest and An Ideal Husband are published; Wilde moves into the Hotel d'Alsace in Paris 

1900: Undergoes ear operation in hotel room; is baptized a Roman Catholic and on 30 November dies of cerebral meningitis; buried in Bagneux Cemetery  

1906: Wilde's estate is discharged from bankruptcy  

1909: Wilde's remains are moved from Bagneux to Pere Lachaise cemetery in Paris and in 1912 a monument by Jacob Epstein is erected over them (Oscar Wilde Society, 2013)

Genre

Classic

Curriculum Ties

The book would be ideal in an English course on British literature or the Gothic novel.  Indeed the book has been approved by the California Department of Education as part of their database of Recommended Literature. 

Booktalking Ideas

1.  Focus on the Gothic elements.

2. Discuss the book in tandem with Wilde's life and talk about how his society repressed people who were gay.

Reading Level/Interest Age

8th grade and up.

Challenge Issues

Gray's exploits are mostly talked about obliquely; there is, however, an act of murder in the novel.

I would openly greet any patron who presented a challenge to the work, giving them ample time to detail their complaint.  I would listen attentively.  To respond to these challenges I would have some reviews of the work on hand.   I would be prepared to explain that as a public institution libraries "cannot limit access on the basis of age or other characteristics" (ALA, 1999).  I would have copies of the library's collection policy on hand.  I would be prepared to politely discuss that parents can control what their children are exposed to by coming to the library with them and examining books they check out.  If the Teen Advisory Group had written reviews of the work I'd have them handy.  While it may be of little comfort to certain parents, I would also be prepared to discuss my staunch support of intellectual freedom and abhorrence of censorship.  As a last resort, I would be sure to keep copies or a reconsideration form on hand.

I would also discuss this book's inclusion in the California Department of Education's list of Recommended Literature.

Why did you include this book in the titles you selected?

It feels like a strong companion piece to Pink and Less Than Zero, a depiction of a gay or bisexual character from a different perspective.

References

American Library Association. (1999). Strategies and tips for dealing with challenges to library materials. Retrieved from http://www.ala.org/advocacy/banned/challengeslibrarymaterials/copingwithchallenges/strategiestips 


Oscar Wilde Society. (2013). Biography. Retrieved from http://www.oscarwildesociety.co.uk/biography.html