Storytime Censored Book List
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(ALSC) Caldecott Medal & Honor Books, 1938 to Present
Association for Library Service to Children (ALSC) Caldecott Medal & Honor Books, 1938 to present 2014 Medal Winner: Locomotive, written and illustrated by Brian Floca (Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing) 2014 Honor Books: Journey, written and illustrated by Aaron Becker (Candlewick Press) Flora and the Flamingo, written and illustrated by Molly Idle (Chronicle Books) Mr. Wuffles! written and illustrated by David Wiesner (Clarion Books, an imprint of Houghton Mifflin Harcourt Publishing) 2013 Medal Winner: This Is Not My Hat, written and illustrated by Jon Klassen (Candlewick Press) 2013 Honor Books: Creepy Carrots!, illustrated by Peter Brown, written by Aaron Reynolds (Simon & Schuster Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing Division) Extra Yarn, illustrated by Jon Klassen, written by Mac Barnett (Balzer + Bray, an imprint of HarperCollins Publishers) Green, illustrated and written by Laura Vaccaro Seeger (Neal Porter Books, an imprint of Roaring Brook Press) One Cool Friend, illustrated by David Small, written by Toni Buzzeo (Dial Books for Young Readers, a division of Penguin Young Readers Group) Sleep Like a Tiger, illustrated by Pamela Zagarenski, written by Mary Logue (Houghton Mifflin Books for Children, an imprint of Houghton Mifflin Harcourt Publishing Company) 2012 Medal Winner: A Ball for Daisy by Chris Raschka (Schwartz & Wade Books, an imprint of Random House Children's Books, a division of Random House, Inc.) 2013 Honor Books: Blackout by John Rocco (Disney · Hyperion Books, an imprint of Disney Book Group) Grandpa Green by Lane Smith (Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership) Me...Jane by Patrick McDonnell (Little, Brown and Company, a division of Hachette Book Group, Inc.) 2011 Medal Winner: A Sick Day for Amos McGee, illustrated by Erin E. -
Megan Lambert
June 2018 Megan Dowd Lambert, M.A. Children’s Literature Website: http://megandowdlambert.com Twitter: @MDowdLambert Cell Phone (413) 695-4515 Email: [email protected] or [email protected] Education Simmons College, Boston, MA. 9/00 –01/02 • M.A. in Children’s Literature; recipient of merit grants from the Simmons College Children’s Literature Scholarship Fund and the Virginia Haviland Scholarship; awarded Teaching Assistant Scholarship position, fall 2001. G.P.A. 3.9 • Independent Study with The Eric Carle Museum of Picture Book Art: Celebrating the Picture Book as an Art Form. Project included: o School Outreach Coordination: Designed and implemented free visiting storytime sessions for over 8,000 students and 1,500 teachers in programs engaging participants with the picture book as an art form. This work led to my creation of The Whole Book Approach, detailed below. I also led teacher meetings to share The Carle’s mission and solicit teachers’ feedback about how The Carle might develop school partnerships. Submitted meeting reports to The Carle’s Founding Director, H. Nichols B. Clark. o Teacher Education: Awarded Xeric Foundation grant to develop and implement fall 2002 teacher training program on picture book art and visual perception. o Bibliographic Research: Conducted bibliographic research to develop a 2,500- volume picture book Reading Library housed in The Carle. o Storytime Reader: Led the museum office’s weekly drop-in storytime program. UMASS-Amherst, Amherst, Massachusetts 1/00-6/00 • Completed the course Children’s Literature, An Issues Approach in the Education Department, based on the work of Dr. -
RARE EARLY NAUGHTY CHILDREN BOOK the High Quality of the Stories 298
Helen & Marc Younger Pg 39 [email protected] 294. [HOFFMANN,HEINRICH]. DER & Loening, ca 1870. Oblong 4to, printed boards, spine repaired and normal wear, VG+. Printed on rectos only, each leaf has a rhyme about a different naughty KRIEGS STRUWWELPETER lustige child embellished with 2 very fine hand-colored engravings. Includes: Bertha and bilder und verse von Karl Ewald Olszewski. the Greedy Boys, Little Chinaman, Inquisitive Susan, Little Trespasser, Freddy Munchen: Holbein 1915. 4to, pict. bds, and the Fire and more. Not in Baumgartner, Ruhle 301a. Rare. $1750.00 edges and spine extrems rubbed else VG+. A marvelous Struwwelpeter parody with a militaristic / World War I theme. Printed on rectos only, each leaf has a warlike motif (Der Bombenpeter, Kaiser Wilhelm, Der Japs etc). Very scarce. $600.00 RARE AND GRUESOME McLOUGHLIN STRUWWELPETER IMITATION 295. [HOFFMANN,HEINRICH]. HEEDLESS HARRY AND OTHER NAUGHTY CHILDREN STORIES. NY: McLoughlin Bros., 1905. 4to, pict. wraps, [32]p. + covers, 299. HOFFMANN,HEINRICH. JIMMY SLIDERLEGS. NY: Sully (inscribed paper aging, some finger soil, VG+. Illustrated with color cover plus 1898). 4to, cl. backed pict. bds, sl. cover soil and very faint edge stain else numerous b&w’s on every page accompany verse about Heedless Harry, remarkably clean and tight and VG+. Illus. in color on every page to accompany Little Lie Abed, The Naughty Boy Who Destroyed His Books, The Dainty the rhymes about Cruel Paul, Tom Bogus, Dr. Wango Tango, Discontented Lucy, Boy, The Little Boy Who Would Not Be Washed and more. The last page Slovenly Betsy and others. A scarce title. $500.00 has a frightful of the Old Man That Draws the Teeth of Children Who Bite: $1200.00 UNCOMMON McLOUGHLIN TITLE RARE STRUWWELPETER PAINTING BOOK 300. -
149 44583960-16E7-404F-A82c
Penguin Readers Factsheets l e v e l E T e a c h e r’s n o t e s 1 2 3 Black Beauty 4 5 by Anna Sewell 6 ELEMENTARY S U M M A R Y ublished in 1877, Black Beauty is one of literature’s for those in less fortunate circumstances. This also included P best-loved classics and is the only book that Anna the animals that shared their lives. In Victorian England, Sewell ever wrote. Four films of the book have been horses were used in industry, and were often treated badly. made, the most recent in 1994. Anna and her mother were appalled if they saw a horse being In the book, Black Beauty, a horse, tells the story of his life mistreated and often showed their disapproval to the horse’s in his own words. It is a story of how he was treated with owner. kindness and love when he was young, but how his When she was fourteen, Anna suffered a fall in which she treatment changed at the hands of different owners: some injured her knee. This never healed and left her unable to were kind and cared for him properly, but others were walk without the help of a crutch. Over the following years, careless or unkind, and this led to illness and injury. Black she became increasingly disabled. However, she learnt to Beauty spent his young life with his mother on Farmer Grey’s drive a horse-drawn carriage and took great pleasure in farm. -
BLACK BEAUTY by Anna SEWELL Illustrated by ^>:*00^^- CECIL ALDIN T
BLACK BEAUTY By anna SEWELL Illustrated by ^>:*00^^- CECIL ALDIN t ,>%, ^'^^^^::?-.. ^1 -I .^-- //I) jy^lA ^/// 7^/- JOHNA.SEAVERNS nrwHi /QJd ; f- BLACK BEAUTY As the sun was going down ... we stopped at the " principal hotel in the market place BLACK BEAUTY THE AUTOBIOGRAPHY OF A HORSE By ANNA SEWELL Illustrated by Eighteen Plates in Colour, specially drawn for this edition by CECIL ALDIN BOOTS THE CHEMISTS BRANCHES EVERYWHERE RECOMMENDED BY THE ROYAL SOCIETY FOR THE PREVENTION OF CRUELTY TO ANIMALS Published by Jarrolds, Publishers^ London, Ltd. for Boots Pure Drug Co., Ltd., Nottingham and Printed by William Brendon & Son, Ltd. Plymouth CONTENTS CHAPTER vi CONTENTS CHAPTER PAGE XXIV. Lady Anne, or a Runaway Horse 135 XXV. Reuben Smith 144 XXVI. How IT Ended 150 XXVII. Ruined, and going Downhill 154 XXVIII. A Job Horse and his Drivers 158 XXIX. Cockneys 164 XXX. A Thief 173 XXXI. A Humbug 177 XXXII. A Horse Fair 182 XXXIII. A London Cab Horse 188 XXXIV. An Old War Horse 194 XXXV. Jerry Barker 202 XXXVI. The Sunday Cab 211 XXXVII. The Golden Rule 218 XXXVIII. Dolly and a Real Gentleman 223 XXXIX. Seedy Sam 229 XL. Poor Ginger 235 XLI. The Butcher 238 XLII. The Election 243 XLIII. A Friend in Need 246 XLIV. Old Captain and His Successor 252 XLV. Jerry's New Year 259 XLVI. Jakes and the Lady 268 XLVII. Hard Times 274 XLVIII. Farmer Thoroughgood and His Grandson Willie . 281 XLIX. My Last Home 287 " LIST OF ILLUSTRATIONS BY CECIL ALDIN "As THE SUN WAS GOING DOWN ... WE STOPPED AT THE PRINCIPAL HOTEL IN THE MARKET PLACE " Frontispiece PAGR " The first place that I can well remember, was a large pleasant MEADOW with A POND OF CLEAR WATER IN IT . -
Can Fiction Generate Social Change?
Student ID: 1405937 Can fiction generate social change? Certainly it can. Look at Black Beauty. Written as an autobiography, Anna Sewell’s 1877 novel describes the life of the eponymous horse, Black Beauty, from his early days in fields with his mother, through life with owners good and bad, to his comfortable final home in the countryside. This book was described in the Encyclopedia of Animal Rights and Animal Welfare as “the most influential anticruelty novel of all time”. In the USA alone a million copies were sold within two years and it was widely distributed by animal rights activists to people who worked with horses. One example of the anticruelty legislation that was passed after its release was the abolition of the bearing rein. This held a horse’s head up high to look stylish, but prevented the horse leaning forward to pull. Wearing the rein was described by Black Beauty’s friend Ginger as “dreadful . your neck aching until you don’t know how to bear it . the blood from my tongue covered the froth that kept flying from my lips”. So why was it that Black Beauty was so influential, instead of being dismissed, like many horsey books, as sentimental anthropomorphism for teenage girls? Partly because, besides being a ripping good read and accurate in detail, it was written at the right time: a time of social change, 1 Student ID: 1405937 when Charles Dickens’ novels were raising awareness of the ill effects of poverty and Harriet Beecher Stowe was assisting the abolition of slavery with U ncle Tom’s Cabin. In order to generate social change, a novel must be different. -
“Get the Picture?” by John Stewig (2002)
Get the Picture? JOHN STEWIG icture book experts commonly assert that in the best None of this is described through words, but we get a clear sense books one sees a combination of fine art and exemplary of the environment because of the art. This is a visual particu- Pwriting, which reinforce each other. The finished product larization of common, and thus easily understood, objects. that results is stronger because of this interaction of words Some artists are fond of adding a “visual signature” and images. How is this symbiosis achieved? to their work. It has been duly noted by several critics that To answer that question, we need to consider how pic- viewers can always find Chris Van Allsburg’s dog in each of ture books come to be. Sometimes, they are the product of his books, though it isn’t mentioned in the text. The same is one individual who crafts both the words and the images. true for the cats that are a recurring image in books by Trina Two who come to mind are Lois Ehlert, as in Waiting for Schart Hyman. Wings (Harcourt 2001), and Denise Fleming, as in Pumpkin At other times, the artist elaborates. For example, James Eye (Holt 2001). In such cases, the creator can move back Marshall crams his visual interpretation of Edward Lear’s and forth between text and art, adding a detail in the art and The Owl and the Pussycat (HarperCollins 1998) with a wealth removing it from the words, or the reverse. of detail not included in the poem itself. -
Black Beauty - READER Black Beauty - READER 11/12/2010 2:26 ΜΜ Page 1
Black Beauty - READER_Black Beauty - READER 11/12/2010 2:26 ΜΜ Page 1 Anna Sewell retold by Jenny Dooley & Virginia Evans Black Beauty - READER_Black Beauty - READER 11/12/2010 2:26 ΜΜ Page 3 Contents Introduction: . 4 Chapter 1: My Early Years. 8 Chapter 2: Joe Green. 13 Chapter 3: The Whip. 16 Chapter 4: Earlshall and Reuben Smith . 19 Chapter 5: A Job Horse and Jerry Barker . 23 Chapter 6: Poor Ginger . 27 Chapter 7: Jerry’s New Year . 30 Chapter 8: Hard Times . 32 Chapter 9: The Good Gentleman and his Grandson . 35 Chapter 10: My Last Home . 40 Activities: . 44 Projects: . 64 Word List: . 68 Black Beauty - READER_Black Beauty - READER 11/12/2010 2:26 ΜΜ Page 4 Introductory Anna Sewell Lesson Before Reading 1 Anna Sewell wrote “Black Anna Sewell was born on 30 Beauty” at a time when March, 1820 in Yarmouth, England. people were often cruel to She had a younger brother, Phillip. horses. What was life for Their parents were kind and horses like then? What is gentle people. Anna’s mother it like now? Discuss. wrote children’s books and poetry, and she taught Anna to love 2 “Black Beauty” is an history, animals and nature. autobiography. What is an autobiography? Can you name any famous people who wrote one? 3 In “Black Beauty” a horse talks about his life. Animals that talk are a common feature of children’s literature. Do you like this kind of books? Why (not)? Do you know any other stories with animals that talk? 4 Read the blurb on the back of the book. -
A Horse: Macdonald's Theodicy in at the Back of the North Wind
32 Stott This is (Not) a Horse: MacDonald’s Theodicy in At the Back of the North Wind G. St. John Stott I George MacDonald insisted in his essay “The Fantastic Imagination” that the meaning of a work should be evident to its readers. He did not mean by this that there was only one meaning to a text, or that the author’s intent in writing was privileged, but that if a reader could not make any sense of what was written and the author had to step in, something had gone wrong. Under such circumstances commentary was a mistake. As he noted, using a simple analogy, “[I]f I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one” (LP xii). We might remember this when we read in At the Back of the North Wind (1871) a conversation between what might (or might not be) two cab horses: Diamond and Ruby. It is a puzzling scene which MacDonald refuses to make clear. Cab horse conversations can be easy to understand. In Anna Sewell’s Black Beauty (1877), a work that was perhaps written as a response to At the Back of the North Wind,1 the eponymous Beauty discusses with Captain (a former army horse) the latter’s experiences in the Crimea: I said, ‘I have heard people talk about war as if it was a very fine thing.’ ‘Ah!’ said he, ‘I should think they never saw it. No doubt it is very fine when there is no enemy, when it is just exercise and parade and sham fight. -
Black Beauty
Black Beauty Black Beauty The story Black Beauty was a handsome horse with one white foot and a white star on his forehead. His life started out on a farm with his mother, Duchess, who taught him to be gentle and kind and to never bite or kick. When Black Beauty was four years old, he was sold to Squire Gordon of Birtwick Park. He went to live in a stable where he met and became friends with two horses, Merrylegs and Ginger. Ginger started life with a cruel owner who used a whip on her. She treated her cruel owner with the lack of respect he deserved. When she went to live at Birtwick Park, Ginger still kicked and bit, but she grew happier there. The groom at Birtwick Park, John, was very kind and never used a whip. Black Beauty saved the lives of Squire Gordon and John one stormy night when they tried to get him to cross a broken bridge. The Squire was very grateful and loved Black Beauty very much. One night a foolish young stableman left his pipe burning in the hay loft where Black Beauty and Ginger were staying. Squire Gordon’s young stableboy, James, saved Black Beauty and Ginger from the burning stable. The Squire and his wife were very grateful and proud of their young stableboy. James got a new job and left Birtwick Park and a new stableboy, Joe Green, took over. Then, one night Black Beauty nearly died because of Joe’s lack of experience and knowledge. The Gordons had to leave the country because of Mrs Gordon’s health and sold Black Beauty to Lord Westerleigh at Earlshall Park. -
Hail to the Caldecott!
Children the journal of the Association for Library Service to Children Libraries & Volume 11 Number 1 Spring 2013 ISSN 1542-9806 Hail to the Caldecott! Interviews with Winners Selznick and Wiesner • Rare Historic Banquet Photos • Getting ‘The Call’ PERMIT NO. 4 NO. PERMIT Change Service Requested Service Change HANOVER, PA HANOVER, Chicago, Illinois 60611 Illinois Chicago, PAID 50 East Huron Street Huron East 50 U.S. POSTAGE POSTAGE U.S. Association for Library Service to Children to Service Library for Association NONPROFIT ORG. NONPROFIT PENGUIN celebrates 75 YEARS of the CALDECOTT MEDAL! PENGUIN YOUNG READERS GROUP PenguinClassroom.com PenguinClassroom PenguinClass Table Contents● ofVolume 11, Number 1 Spring 2013 Notes 50 Caldecott 2.0? Caldecott Titles in the Digital Age 3 Guest Editor’s Note Cen Campbell Julie Cummins 52 Beneath the Gold Foil Seal 6 President’s Message Meet the Caldecott-Winning Artists Online Carolyn S. Brodie Danika Brubaker Features Departments 9 The “Caldecott Effect” 41 Call for Referees The Powerful Impact of Those “Shiny Stickers” Vicky Smith 53 Author Guidelines 14 Who Was Randolph Caldecott? 54 ALSC News The Man Behind the Award 63 Index to Advertisers Leonard S. Marcus 64 The Last Word 18 Small Details, Huge Impact Bee Thorpe A Chat with Three-Time Caldecott Winner David Wiesner Sharon Verbeten 21 A “Felt” Thing An Editor’s-Eye View of the Caldecott Patricia Lee Gauch 29 Getting “The Call” Caldecott Winners Remember That Moment Nick Glass 35 Hugo Cabret, From Page to Screen An Interview with Brian Selznick Jennifer M. Brown 39 Caldecott Honored at Eric Carle Museum 40 Caldecott’s Lost Gravesite . -
Folk-Lore of Women As Illustrated by Legendary and Traditional Tales, Folk
FOLKLORE OF WOMEN Won LIBRARY OF THE University of California. Class Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/folkloreofwomenaOOthisrich FOLK-LORE OF WOMEN FOLK-LORE OF WOMEN AS ILLUSTRATED BY LEGENDARY AND TRADITIONARY TALES FOLK-RHYMES, PROVERBIAL SAYINGS, SUPERSTITIONS, ETC. T. F. THISELTON-DYER, M.A. Oxon AUTHOR OK "OLD ENGLISH SOCIAL LIFE, ETC., ETC." CHICAGO A. C. McCLURG & CO. LONDON: ELLIOT STOCK I906 American Edition Published October 20, 1906 y PREFACE & one of his essays, Emerson tells us that IN " proverbs, like the sacred books of each nation, are the sanctuary of the intuitions/' a statement which, if accepted, must place this class of literature on a very high footing. But, although due caution must be taken, when analysing proverbial lore, to differentiate between the serious and jocular element contained therein, it may safely be said that, taken as a whole, such adages and saws—which form an important branch of folk-lore—express more or less correctly the estimate of mankind relative to the subject specially handled. And, when it is remembered what a wealth of material proverbial literature supplies in connection with every concern of daily life, it is not surprising that woman should have been made a prominent theme for criticism and comment, the judgment passed on her being in most cases fairly evenly divided between what is *in her favour or the reverse. In a field, too, so wide we have been content to cull, from here and there, sufficient typical 212464 viii Preface instances of the proverbial wisdom of the human race in its teaching of woman's character as to illustrate the subjects classified in the following chapters, without unduly multiplying examples, which only too frequently are a repetition of the same adage told in a different form.