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