Book Review: THE GIVER
*NOTE: This review was created for a class at TWU.

1. BIBLIOGRAPHY:
Lowry, Lois. 1993. THE GIVER. New York, NY: Dell Laurel Leaf. ISBN 0440237688

2. PLOT SUMMARY:
In THE GIVER, Lois Lowry's 1993 Newbery Medal-winning novel, Jonas lives in a world without fear or pain. All aspects of life in the community are stable, polite, and completely under the control of the Committee of Elders, from birth to death. This state of existence is fine with Jonas until, at the age of twelve, he is unexpectedly named Receiver of the community's collective memories. These memories are transmitted to him by the Giver, and as Jonas learns what has been sacrificed for the sake of stability, he realizes that he must risk everything and escape.

3. CRITICAL ANALYSIS:

"But at the same time, he was filled with fear. He did not know what his selection meant. He did not know what he was to become.
Or what would become of him." (The Giver, Ch. 8)

In four short sentences, Jonah, the main character of THE GIVER, conceptualizes the fear and uncertainty felt by all young adults when confronted with what they will become in the future and what society expects them to become. The simplicity of the world Lois Lowry creates in this novel, coupled with the spare and direct style of narration, allows the author to bring many of the major themes in young adult literature to the forefront of THE GIVER, resulting in a story which is both thought-provoking and unique in its clarity.

Because the prevailing themes in young adult literature include self-awareness and rebellion against the established order, the genre of dystopia is particularly suited this type of literature. As young adults become more aware of themselves in a quest to discern what their individual identity is, they in turn become more aware of the world around them and begin question the status quo. Dystopias add an element of fantasy, such as magic and other worlds, to this journey of self-discovery, often pitting the protagonist against newly discovered evil, transforming self-discovery into heroism. THE GIVER is a dystopia which succeeds in doing all this in a style that is engaging and touching without flowery prose that would distract from the important questions raised by Jonas's plight.

In the beginning, Lowry paints a picture of life which, while not perfect, is safe and comforting in its sameness. Everyone knows the rules and the status quo prevails. Students begin each day with "chanting" and a "morning anthem," performing polite public apologies when rules are broken, and being reminded over loudspeakers of the consequences of infractions. Each day ends with a ritual too, "the evening telling of feelings." While this stable life seems gentle and protective, Jonas's increasing sense of self-awareness causes him to be uncomfortable with the constraints of his community. He is reluctant to engage in the telling of feelings, finding them to be too complex, thinking that, "He wanted to share them, but he wasn't eager to begin the process of sifting through his own complicated emotions, even with the help that he knew his parents could give."

By the time Jonas is singled out from the rest of his age group to be appointed the special job of Receiver, his journey of self-discovery has also become a journey toward independence. This journey is facilitated by his growing curiosity about the world around him. Jonas questions everything, and is encouraged by his mentor, the Giver of memories. When he begins to see colors, he questions why no one else can see them. "Why can't everyone see them?" Jonas asks, "Why did colors disappear." At this point, Jonas learns that colors were "relinquished" when the community did away with differences, gaining control of one thing, but having to give up others.

From here, THE GIVER becomes dystopic, and Jonas's realization that the loss of freedom, beauty, and passion are too great a price to pay for sameness and safety, turns his journey of self-discovery into a quest for survival. When he decides to flee the community, which would release the memories he has received back to everyone, he takes with him Gabriel, a baby who going to be killed because he didn't fit in to the community's norms. At this moment, he heroically risks his own life, and transforms himself from Receiver of memories to Giver of life and the future. Almost dead with exhaustion, hunger, and cold, Jonas protects the baby and becomes "aware with certainty and joy that below, ahead, they were waiting for him; and that they were waiting, too, for the baby."

Lowry offers an optimistic ending echoing with allusions to the nativity, but one which is open-ended enough for the reader to form his or her own interpretation. THE GIVER is not didactic. In fact, this very open-endedness has caused the book to be controversial to some, who see in some of the Biblical allusions such as Jonas's and Gabriel's name, and the Christmas-time setting, a condemnation of religion. Yet it is that very freedom of interpretation for which the novel stands. THE GIVER poses serious questions about society's constraints in the interest of the "common good" without giving answers so that, like Jonas, the reader can "sift through" his or her own complicated thoughts independently.

4. REVIEW EXCERPT(S)
School Library Journal: (Starred Review) "The final flight for survival is as riveting as it is inevitable. This tightly plotted story and its believable characters will stay with its readers for a long time."

Booklist: (Starred Review) "The simplicity and directness of Lowry's writing force readers to grapple with their own thoughts."

5. CONNECTIONS & STRATEGIES
* Use color and music to springboard a discussion about the things the community gives up in order to be more "secure" and "safe." Put large sheets of butcher paper in different colors around the room. Students stand at each sheet for five minutes, writing down the things and feelings that come to mind when they think about that color. Then do a gallery walk, discussing each color and reflecting on feelings and connotations that shared by our society and why a society might want to avoid those feelings and connotations. A similar exercise would be to play clips of various songs and have students journal about the emotions those songs evoke. Why would a community want to ban music? Finally, students could journal on what things (if any) they would be willing to give up to make their community safer. For a lesson plan along these lines, go to http://www.teachers.net/lessons/posts/664.html

* At the high school level, this book would be an excellent choice in a genre study of dystopias in a book study or reader's circle format. The teacher could do brief book-talks about 5-6 dystopias such as Aldous Huxley's BRAVE NEW WORLD (ISBN 0060929871), Ray Bradbury's FARENHEIT 451 (ISBN 8445074873), George Orwell's 1984 (ISBN 0451524934), and Margaret Atwood's A HANDMAID'S TALE (ISBN 038549081X). Along with these classics, some contemporary dystopias include M.T. Anderson's FEED (ISBN 0763622591), Scott Westerfield's UGLIES (ISBN 0689865384) and PRETTIES (ISBN 0689865392), Susan Beth Pfeffer's LIFE AS WE KNEW IT (ISBN 0152058265), and Nancy Farmer's HOUSE OF THE SCORPION (ISBN 0689852231). After the book talks, student self-select which book they'd like to read and create groups of students who are reading the same book. Through journals, textual analysis, and discussion, students will identify the elements of a dystopia found in the book and report out to the rest of the class. Students may be assigned roles such as Connection Maker, Illustrator, Vocabulary Sleuth, etc., so that each will have an important part to play in the work and presentations. Harvey Daniels has some great ideas for book clubs in Ch. 9 of his book, SUBJECTS MATTER (ISBN 0325005958)

Book Review: CRISS CROSS
*NOTE: This review was created for a class at TWU.

1. BIBLIOGRAPHY:
Perkins, Lynne Rae. 2005. CRISS CROSS. New York, NY: Greenwillow Books. ISBN 0060092726

2. PLOT SUMMARY:
The Newbery Award-winning novel CRISS CROSS weaves a story of interconnected lives and moments of missed meaning. The main character, Debbie, and her group of friends all sense that they are on the verge of something, yet feel that nothing ever happens in their small world, centered around the town of Seldem. Each of them is constantly changing and growing, taking in new experiences like a sponge, especially Debbie. She learns to fix a sink, drive a stick shift, pop the clutch to start a dead battery, and stave off an elderly neighbor's diabetic episode with orange juice and sugar, and in one synchronicitous morning, she must do all of these things, leading her to also find, for three brief days, what might be love with Peter. But life goes on, her love returns to California, and Debbie and her friends connect and miss connections all over again.

3. CRITICAL ANALYSIS:
The Russian writer Marina Tsvetaeva once said that poets don't compose poetry, they just tune their inner antennae to the cosmos and let it fill them up. But the question arises, while you're tuned into the cosmos, what are you missing on earth? In much the same way, the characters in Lynn Rae Perkins' realistic young adult novel, CRISS CROSS, are, at various times, tuned into new experiences that shape their developing identities, while missing other connections that might have profoundly impacted them. The author's language, illustrations, and multi-genre format reinforce both the coming-of-age story and pondering of concepts such as fate, destiny, and man's own inability to be "tuned in" to life.

While on one level CRISS CROSS meditates upon philosophical questions of existence and the meaning of life, it is ultimately a realistic novel of growing up that bears the hallmarks of the best of today's young adult literature. First, the novel is written from the viewpoint of young people and details their struggles to become independent. Debbie, Hector and all their friends could live right down the street from any of us, and their struggles to begin to define themselves, such as changing clothes on the way to school, learning to play guitar, ditching their glasses, and letting their hair grow out, can be seen on any high school campus today. This urgent need to be different from the children their parents still saw them as is described as "cultural evolution," away from "mothers who were stranded in the backwaters of a bygone era" and who weren't "going to get it" no matter how much you argued. In her gently humorous way, Debbie resolves the problem by stating, "At some point you just had to go change your clothes in a bush."

The gentle and humorous narrative style points to another characteristic of quality young adult literature; CRISS CROSS is not didactic. The adolescents in the novel do have moments of insight and grapple with important emotions, but they stay in character, not dwelling or lecturing, but moving on to the next event in their lives. When Hector is chastised by Patty for not recognizing that girls like boys for their looks, just as boys like girls for their looks, he reflects that he "saw what she was getting at, but he didn't think it applied. He liked Meadow for her inner beauty. Which happened, in her case, to be accompanied by outer beauty. He thought her outer beauty might even be a result of her inner beauty. A time honored line of reasoning that encompasses both truth and quicksand." Hector goes on to hope his own inner beauty was visible from the outside, commenting, "I'm a hunk in my soul." The prose balances insight and humor to both address and assuage the fears and concerns that can sometimes overwhelm adolescents.

Finally, the real genius in Perkins' book lies in the way the multi-genre structure supports the story. This structural support is particularly evident in two themes: the idea that we are more or less "tuned in" to life at certain times, and the idea that although we sometimes miss connections, if those connections are meant to be made, they will be made at another time. The first concept is embodied by the term "satori," which comes from Zen Buddhism and is loosely defined as a moment of individual enlightenment. Though this concept may seem esoteric, it is made approachable in the second chapter when Hector is taken out of his usual surroundings and joins his sister in a coffeehouse to listen to music. Perkins writes, "He didn't realize he was in a sponge state but, having been separated from his moorings - couch, TV, pizza - and led into unfamiliar territory, there was a spongy piece of him left open and receptive to the universe in whatever form it might take, and the form it took was a guitar." Later, this state is described as satori, "a mystical, wordless moment of understanding about Music and Life..." and illustrated with photographs of the Civic Arena's roof opening when the weather clears, beautifully representing the abstract concept in concrete detail. Visual representation of an emotional state is exemplified in Chapter 22, "Wuthering Heights/Popular Mechanics" where the entire chapter is placed on the page in the form of two columns, the left hand column bearing Debbie's experience, and the right-hand column simultaneously describing Lenny's experience, which is frustratingly parallel, but off by moments, resulting in the two characters missing a chance to connect with one another by a paragraph.

Other states and emotions are explored through haiku, fable, script, and cartoon, creating a layered effect which belies the surface simplicity of the spare prose and, with the exception of the day Debbie saved Mrs. Bruning from a diabetic seizure, mundane events. And, ultimately, that may be the lesson to be learned from CRISS CROSS. Things are not as they appear on the surface, and missed opportunities may come again, because, although we fail to connect all the time, if we keep "tuning in" to the universe, we will connect and achieve moments of satori. Achieving individual enlightenment, however fleeting, brings us to a final characteristic of outstanding young adult literature - optimism. CRISS CROSS is optimistic. The novel ends with lightning bugs blinking their "Here I am," ready to make the next connection, achieve satori, and maybe even true love, encouraging the reader to follow nature's lead and continue to let her light shine. Taken together, the realism, depth of thought, optimism, and structural complexity of CRISS CROSS combine to create a Newbery-worthy novel.

4. REVIEW EXCERPT(S)
School Library Journal: (Starred Review) "There is a great deal of humor in this gentle story about a group of childhood friends facing the crossroads of life and how they wish to live it. Young teens will certainly relate to the self-consciousnesses and uncertainty of all of the characters, each of whom is straining toward clarity and awareness."

Booklist: (Starred Review) "...most readers will find their contemporaries in these characters. Best of all are the understated moments, often private and piercing in their authenticity, that capture intelligent, likable teens searching for signs of who they are, and who they'll become."

5. CONNECTIONS & STRATEGIES
*At the high school level, this novel could be studied in conjunction with other books or stories that call into question whether there is such a thing as "destiny" or are we simply buffeted by series of coincidental events? Is there a greater plan? In groups, students could list the "near misses" and "coincidences" in the novel, and develop an argument as to whether they think the author, Lynne Rae Perkins, is arguing that there is true love out there, and, in spite of many near misses, it will find you, or that we're all just victims of happenstance. Then, looking at it from a philosophical point-of-view, students could read some of the stories in COINCIDENCE OR DESTINY? STORIES OF SYNCHRONICITY THAT ILLUMINATE OUR LIVES (ISBN 157324824X) and take their own stand on the issue, using the stories as evidence. Or, looking at it from a "scientific" standpoint, they could read A LITTLE BOOK OF COINCIDENCE (ISBN 0802713882), which guides the reader through the solar system, pointing out beautiful patterns in nature, and leading to the question, could something so beautiful and perfect, just be chance?

* CRISS CROSS would be an excellent selection when looking at multi-genre writing. Avi's book, NOTHING BUT THE TRUTH (ISBN 038071907X) would be another good novel to use as a mentor text for multi-genre writing. Students could then try their own hand at writing about the same subject through different genres. It's an excellent way to discuss purposes for writing and point-of-view. A teacher's resource book for approaching multi-genre writing in the classroom is Tom Romano's BLENDING GENRE, ALTERING STYLE: WRITING MULTI-GENRE PAPERS (ISBN 0867094788).

Book Review: BUD, NOT BUDDY
*NOTE: This review was created for a class at TWU.

1. BIBLIOGRAPHY:
Curtis, Christopher Paul. 1999. BUD, NOT BUDDY. New York, NY: Delacorte Press. ISBN 0385323069

2. PLOT SUMMARY:
In BUD, NOT BUDDY, Newbery Award-winning author Christopher Paul Curtis tells the Depression-era story of a young orphaned boy named Bud, who runs away from an abusive foster home and goes in search of his long lost father. Along the way, he draws upon the wisdom of his mother and his own wry sense of humor to survive, befriending a ragtag bunch of musicians and finally finding a home where he belongs.

3. CRITICAL ANALYSIS:
Christopher Paul Curtis's Depression era novel, BUD, NOT BUDDY, set a high standard for young adult historical fiction by seamlessly integrating the setting with characters who are real, believable, and relevant today. The themes of dignity under desperate circumstances, courage, and hope all accurately describe the spirit of those who survived the trials and tribulations of the Great Depression in America.

First, the setting is integrated in things Bud sees, places he goes, and the conversations he has with other characters. In chapter six, when Bud waits in line for food at the "mission," he sees a sign that aptly depicts the irony of the average American's situation in "the land of milk and honey." The sign portrays a rich family of four, with "big shiny eyes and big shiny teeth and big shiny cheeks and big shiny smiles," wearing "movie star clothes," and riding in a car that "looked like it had room for eight or nine more people in it." The top of the sign reads, "There's no place like America today," to which a character jokes, "Well, you got to give them credit, you wouldn't expect that they'd have the nerve to come down here and tell the truth." Later, Bud and a friend arrive in one of the "Hooverville" tent cities, bleakly described as "a bunch of huts and shacks throwed together out of pieces of boxes and wood and cloth." Yet, once again, Curtis relieves the dark situation with humor as a woman hands the boys "plates" for their meal. Bud narrates, "a woman handed me and Bugs each a flat, square, empty tin can. 'That, m'lords, is your china. Please be careful not to chip it.' My china had the words JUMBO A&P SARDINES stamped into the bottom of it."

Second, the characters in the story are real, believable, and relevant today, especially the protagonist BUD. Just as in the thirties, 21st century children are growing up with single parents, and most people can relate to Bud's stash of sentimental objects that serve as memories of a distant relative or loved one. Anyone who has searched for someone or longed to know someone better can relate to Bud's quest to find his father. If Bud's desires and motivations are relevant, his thoughts and speech make him real and believable. Phrases such as "get holt," "kiss my wrist," and "woop, zoop, sloop," bring Bud's voice to life, and once he meets up with H.E. Calloway and the Dusky Devastators of the Depression, the boys in the band breath life into the lingo of the times with words like "chops," "scoop," "cop a squat."

While historically accurate, BUD, NOT BUDDY is most memorable for the truly charming and witty voice of its eponymous main character. Through Bud's eyes, Christopher Paul Curtis reveals the gritty realities of the Depression era, and compassionate characters whose strong doses of humor help everyone to keep hope alive and survive one of the worst periods in our country's history. This was my second reading of this outstanding novel, and even though I knew how it ended, I still found myself crying right along with Bud when I got to Chapter 14.

4. REVIEW EXCERPT(S)
Children's Literature: "Curtis' book follows a young African-American boy as he struggles to find a home during the Depression. The author takes on a difficult time and seemingly sad plot, but Bud, the hero, has humor and originality that will open new doors and understanding about this era."

Publisher's Weekly: "As in his Newbery Honor-winning debut, The Watsons Go to Birmingham--1963, Curtis draws on a remarkable and disarming mix of comedy and pathos, this time to describe the travails and adventures of a 10-year-old African-American orphan in Depression-era Michigan."

5. CONNECTIONS & STRATEGIES
*Create a "Frozen Tableau" to help students better understand what it was like to live during the Depression. Give students copies of Depression Era photographs (perhaps the work of Dorothea Lange) and have students journal to react to them. In a discussion forum, clear up any misconceptions or confusion the pictures may have engendered. Then in groups, students pose as people in one of the pictures, creating a "frozen tableau." While in their frozen poses, the students answer questions from the teacher who acts as a "reporter," wanting to know the more about the people, the times, and the emotions in the picture. Use the instructions for creating a "Frozen Tableau" for THE WATSONS GO TO BIRMINGHAM as a guide. They can be accessed at: http://www.learner.org/channel/workshops/tml/workshop5/authors1b.html

* Compare and contrast the protagonists in A SINGLE SHARD (ISBN 044041581) and BUD, NOT BUDDY. Both novels tell the story of young orphaned boys trying to find their home in the world. I was struck by the similarities in the "wisdom" imparted to them by loved ones which each carried within them as a source of strength. Students could reflect on words of wisdom their own family and mentors may have imparted and write a short autobiographical narrative interweaving those words into the story.

Book Review: THE MIDWIFE'S APPRENTICE
*NOTE: This review was created for a class at TWU.
*Illustration by young artist from: www.dbrl.org/outreach/book-cover/03/

1. BIBLIOGRAPHY:
Cushman, Karen. 1995. THE MIDWIFE'S APPRENTICE. New York, NY: Clarion Books. ISBN 0395692296.

2. PLOT SUMMARY:
The Newbery Award-winning novel A MIDWIFE'S APPRENTICE weaves the coming-of-age tale of a young orphan girl, cruelly nicknamed "Dung Beetle" and "Brat," who, through hard work and perseverance, becomes a capable young woman, Alyce. Wanting only "a full belly, a contented heart, and a place in this world," Alyce suffers ostracism, disappointments, and crisis of faith in herself before coming to realize that her place in the world is as a midwife's apprentice, and her family is what she makes it: a bitter midwife, a stray cat, and a village full of characters.

3. CRITICAL ANALYSIS:
The hallmarks of good historical fiction include that the history is accurate, it isn't sugar-coated, it is seen through the eyes of a young protagonist, it comes to life through the patterns of daily life, and it isn't revealed through too much historical detail. Karen Cushman's novel A MIDWIFE'S APPRENTICE contains all these hallmarks along with a wonderful girl's coming-of-age story.

There can be no doubt that history isn't sugar-coated when a novel starts with the line, "When animal droppings and garbage and spoiled straw are piled up in a great heap, the rotting and moiling give forth heat. Usually no one gets close enough to notice because of the stench." In fact, most of the settings in THE MIDWIFE'S APPRENTICE reveal that medieval life didn't really resemble the Hollywood "knight saves princess" tales we've all come to love. No, in this story, boys torment cats, husbands cheat on wives, making soap stinks up the whole yard, and our young protagonist, Alyce, doesn't take a bath until 3/4 of the way through the plot!

If life is less than rosy, it is even more so through the eyes of the orphan girl known as Brat, Dung Beetle, and finally Alyce. While she begins the story with only an empty belly and hard experiences, her keen curiosity and perseverance leads her to a happy existence as the midwife's apprentice and allows the reader to soak in all the details of village life. Through her eyes, we learn that "columbine seeds speed birth" and cobwebs are used for "stanching blood," we see "pennants flying...copper kettles, rubies and pearls, ivory tusks from mysterious animals," and "pies stuffed with pork and raisins," at the market in Gobnet-Under-Green, and we feel the "stiff vellum" used by Master Reese to write his great encyclopedia. Because Alyce is so inquisitive by nature, these historically correct descriptions never feel unnatural, but rather is a natural extension of the daily patterns she experiences.

Only one section of the novel seemed less than realistic to me, and that was the chapter entitled "The Devil." While I enjoyed the descriptions of medieval superstitions, I had difficulty believing that Alyce, working most of the day as the midwife's apprentice, and having no real skills as a woodworker (even though it does mention she likes to watch the woodworker at work), would be able to carve two blocks to look like animal prints. Even if she could do that, how would she be able to use them to create a trail that led to someone committing an evil deed without also leaving footprints and/or being detected. And what are the chances that the townspeople would catch the culprits in the act every time? It just seemed far-fetched to me.

Yet the rest of the novel is delightfully fast-paced, and keeps a nice balance of historical detail and action. Karen Cushman works wonders with characterization, describing Jane the midwife as "a woman neither old nor young but in between. Neither fat nor thin but in between. An important-looking woman, with a sharp nose and a sharp glance and a whimple starched into sharp pleats." Other, more minor characters are characterized with similar care. Joan, the bailiff's wife, "washed her linen each week and never let herself be seen even in summer," and Master Reese was "long and skinny as a heron, with black eyes in a face that looked sad, hungry, and cold."

Like many young adult novels, THE MIDWIFE'S APPRENTICE is a bildungsroman of self-discovery, but Cushman avoids a Disney-like ending by foregoing hugs and happy reunions which would ring false in the difficult times of fourteenth-century England, and opting for a simpler closure. When Alyce finally regains the courage to return to the midwife after disgrace and ask to be an apprentice again, she is initially rejected, but perseveres, refusing to leave the midwife's front step, setting up the final scene: "The door opened. Alyce went in. And the cat went with her." We are left to speculate whether Alyce would grow up, become an even better midwife due to her caring heart, and fall in love with the local red-haired boy.

Delightful characterization, fascinating details, and a charming protagonist, make THE MIDWIFE'S APPRENTICE an enjoyable story for those who love medieval times, Chaucerian foibles, and spunky protagonists.

4. REVIEW EXCERPTS:

From School Library Journal: "Characters are sketched briefly but with telling, witty detail, and the very scents and sounds of the land and people's occupations fill each page as Alyce comes of age and heart. Earthy humor, the foibles of humans both high and low, and a fascinating mix of superstition and genuinely helpful herbal remedies attached to childbirth make this a truly delightful introduction to a world seldom seen in children's literature."

From Booklist: "The characters are drawn with zest and affection but no false reverence... Kids will like this short, fast-paced narrative about a hero who discovers that she's not ugly or stupid or alone."

5. CONNECTIONS
* Students could use THE MIDWIFE'S APPRENTICE as an introduction to a medieval unit in 6th grade social studies. After reading the novel, the class could split into groups, each taking a different village building (midwife's cottage, farm, woodworking shop, mill, tavern, manor) and research what it would look like an what it would contain. Then each group could create a three-dimensional model of the building, labeling important areas/items. After presentations, the buildings could be arranged to create an entire medieval village.
* Use in a girls' book club and compare to A DAUGHTER OF VENICE by Donna Jo Napoli (ISBN 0440229286) and TRUE CONFESSIONS OF CHARLOTTE DOYLE (ISBN 0380782550) by AVI. All three novels are historical, deal with a girl's coming of age, and the stereotypes and constraints put upon women during the time in which they lived. Discussions could center around the treatment of girls and women throughout cultures and history.

Book Review: A SINGLE SHARD
*NOTE: This blog was created as part of a class at TWU.

1. BIBLIOGRAPHY:
Park, Linda Sue. 2001. A SINGLE SHARD. New York, NY: Dell Yearling. ISBN 0440418518

2. PLOT SUMMARY: Set in 12th century Korea, the Newbery Award winning novel A SINGLE SHARD tells the tale of 12-year-old orphan Tree-ear, who lives under a bridge with the wise but crippled old Crane-man. Longing to become a potter himself, Tree-ear begins to work for a master celadon maker, Min, and through adventures not only garners Min a royal commission, but gains courage, a home, and a future as an artist.

3. CRITICAL ANALYSIS:
As historical fiction goes, A SINGLE SHARD has all the elements to envelope readers in another time and buoy them through the events in young Tree-ear's life, while glimpsing accurate views of another place and time. The setting, 12th century Korea, is integral to the plot, the characters are vividly drawn and believable, and the plot and theme are realistic to the time period and yet touch upon issues relevant today.

The setting in this bittersweet novel of hope and courage influences every aspect of the story, yet is integrated into the story subtly. From the very first lines, when Tree-ear's mentor, Crane-man, humorously twists the traditional greeting of "Have you eaten well? ("Shik Sa Ha Syeoss Ship Nee Ka?") to "Have you hungered well?" Linda Sue Park breathes life into the setting through the character's speech, their conduct towards one another, details of everyday events, and descriptions of the places in the novel. The young protagonist is an orphan, and as such, on the lowest level village society. After being apprenticed by a local master potter, Tree-ear is fed by the potter's wife, and treats her with such respect that he rarely speaks and does not dare to look at her but keeps his head bowed. When the wife gives him winter clothes, Tree-ear expresses his thanks by saying, "Deepest gratitude to the honorable potter's wife." Throughout the book, this level of respect and sense of place in society permeates the characters' dialogue and actions, sustaining the historical setting. Everyday details further strengthen the sense of time and place. Tree-ear sees a man on the road carrying a jiggeh, which is then briefly described as "an open-framed backpack made of branches," revealing the simplicity and ingenuity of the times, and later watches the potter Min make a prunus vase, introducing the reader to the Korean art of flower arranging and artistic esthetic: "It would be a prunus vase - the most elegant of all the shapes. Tall and beautifully proportioned, rising from its base to flare gracefully and the round to the mouth, a prunus vase was designed for one purpose - to display a single branch of flowering plum." All the descriptions of the steps involved in making the village's famous celadon ware are fascinatingly detailed and accurate, from the digging of the clay, to the mixing of the slip, and the firing process. Finally, the physical details of the village, and the towns, mountains, and valleys Tree-ear passes through on his way to the capital, Songdo, are captivatingly described with the innocence and wonder of a 13-year-old. The marketplace in the town of Puyo is especially vibrant, with each stall holding a wonder of items for every taste and desire. "The onggi seller's stall displayed every size of vessel," writes Park, "from tiny sauce dishes to kimchee jars big enough for a man to stand hidden within."

Park spares no descriptive talent on the characters, either. Crane-man's spirit of life and sense of humor shines through in spite of his deformity, Min's tender heart is revealed beneath his exacting nature and gruff exterior, and Tree-ear's transformation from child with a sliver of hope, to young man with confidence and a vision for his future unfurls before the reader's eyes. Near the end of the story, Tree-ear has his defining moment after being set upon by robbers and having his precious cargo, two of Min's pots, smashed on a cliff below him. The author writes, "Tree-ear rolled onto his side and vomited. He retched again and again, until his stomach felt as empty as his spirit...Failure. The most dishonorable failure. He had been unable to keep the vases safe." Yet Tree-ear does not give up, and "suddenly, a last flicker of hope flared within him. The second vase - he had not heard the crash. Perhaps it had fallen into the water, perhaps it was still unbroken." Although he finds only a single shard, a single sliver of hope, Tree-ear musters the courage to continue his journey and present just that piece to the king's emissary. Ultimately, Tree-ear is successful and although his return is bittersweet due to Crane-man's death, he becomes part of Min's family and a true potter's apprentice.

The plot and theme in A SINGLE SHARD is appropriate for 12th century Korea, revolving around questions of honesty, respect, and courage, and yet are relevant today. First, Tree-ear's struggle to find and define himself, to figure out where he belongs, is one that adolescents make every day. Second, although very respectful, Tree-ear often feels shame and resentment when he feels that he has been treated unjustly, although he realizes later that learning things the hard way is often the best way. And finally, he learns that "leaping into death is not the only way to show courage," by persevering and having the courage to go into the palace with only a single shard to show the king's emissary. Students today often view courage as something from the realm of video games and graphic novels, and the wisdom of Crane-man could help them to understand that courage isn't always visible, but comes from inside and is drawn upon everyday by almost everyone.

Throughout A SINGLE SHARD, Linda Sue Park inlays the stories and maxims of Crane-man, creating a well of wisdom from which Tree-ear dips to nourish and strengthen himself on his long journey. These stories, like the descriptions of pottery-making are never intrusive, and lend a uniqueness and subtlety to the novel which would enchant most readers, and pique the curiosity of many about the ancient culture of Korea.

In an author's note Park explains the historical basis for the characters and events, telling where vases such as the ones described in the novel can be found. (I almost booked a flight to Seoul!) She also describes the changes in Korea's history since the 12th century, and that fact that several locations in the book remain, but under different names. My edition of the novel also included an afterword, "What's So Special About Celadon" and an interview with the author.

4. REVIEW EXCERPTS:
From Publisher's Weekly: "Park (Seesaw Girl) molds a moving tribute to perseverance and creativity in this finely etched novel set in mid- to late 12th-century Korea...Readers will not soon forget these characters or their sacrifices. Ages 10-14."

From Booklist: "This quiet, but involving, story draws readers into a very different time and place. Though the society has its own conventions, the hearts and minds and stomachs of the characters are not so far removed from those of people today. Readers will feel the hunger and cold that Tree-ear experiences, as well as his shame, fear, gratitude, and love. A well-crafted novel with an unusual setting."

5. CONNECTIONS
* This novel would be an excellent read for 6th grade in Texas, to complement the World History focus of 6th grade social studies. After reading the book, local potters could be invited to the school to give a demonstration and allow students to try their hands at throwing a pot, or student could take a field trip to a museum to view celadon pottery up close and in person.
* Chapter 11, where Tree-ear is robbed and the vases are smashed, and Chapter 12, where he meets with the royal emissary would be good sections for students to adapt into a Reader's Theater script and act out.
* Read THE YEAR OF IMPOSSIBLE GOODBYES by Sook Nyul Choi (ISBN 0440407591) which takes place in war-time Korea and details the harrowing trek a young girl and her family must make to escape the Communists in the aftermath of the war. Comparing the two protagonists would be a great springboard to a discussion of courage and perseverance, allowing the students' to connect to their own lives, while deepening their understanding of Korean history. It might also be interesting to create maps of the journeys each character takes and see where they might intersect.