DOCSLIB.ORG

Bulletin of the Center for Children's Books

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ILLINOI S__ UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. BULLETIN OF THE CENTER FOR HILDREN'S BOOKS NOVEMBER 1986 VOLUME 40 NUMBER 3 THE UNIVERSITY OF CHICAGO PRESS THE UNIVERSITY OF CHICAGO GRADUATE LIBRARY SCHOOL EXPLANATION OF CODE SYMBOLS USED WITH ANNOTATIONS * Asterisks denote books of special distinction. R Recommended. Ad Additional book of acceptable quality for collections needing more material in the area. M Marginal book that is so slight in content or has so many weaknesses in style or format that it should be given careful consideration before purchase. NR Not recommended. SpC Subject matter or treatment will tend to limit the book to specialized collections. SpR A book that will have appeal for the unusual reader only. Recommended for the special few who will read it. Except for pre-school years, reading range is given for grade rather than for age of child. C.U. Curricular Use. D.V. Developmental Values. BULLETIN OF THE CENTER FOR CHILDREN'S BOOKS (ISSN 0008-9036) is published monthly except August by The University of Chicago Press for The University of Chicago, Graduate Library School. Betsy Hearne, Editor; Zena Sutherland, Associate Editor. An advisory commit- tee meets weekly to discuss books and reviews. The members are Carla Hayden, Isabel McCaul, Hazel Rochman, Robert Strang, and Roger Sutton. SUBSCRIPTION RATES: 1 year, $23.00; $15.00 per year for two or more subscriptions to the same address: $15.00, student rate; in countries other than the United States, add $3.00 per subscription for postage. Japanese subscription agent: Kinokuniya Company Ltd. Single copy rate: from vol. 25, $2.25; vols. 17 through 24, 50C. Reprinted volumes 1-16 (1947-1963) available from Kraus Reprint Co., Route 100, Millwood, New York 10546. Volumes available in microfilm from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Complete volumes available in microfiche from Johnson Associates, P.O. Box 1017, Greenwich, Conn. 06830. Checks should be made payable to The University of Chicago Press. All notices of change of address should provide both the old and new address. Postmaster: Send address changes to BULLETIN OF THE CENTER FOR CHILDREN'S BOOKS, The University of Chicago Press, Journals Division, P.O. Box 37005, Chicago, Illinois 60637. SUBSCRIPTION CORRESPONDENCE. Address all inquiries about subscriptions to The University of Chicago Press, Journals Division, P.O. Box 37005, Chicago, Illinois 60637. EDITORIAL CORRESPONDENCE. Review copies and all correspondence about reviews should be sent to Betsy Hearne, 1100 East 57th Street, Chicago, Illinois 60637. Second-class postage paid at Chicago, Illinois. © 1986 by The University of Chicago. All rights reserved. PRINTED IN U.S.A. Bulletin of the Center for Children's Books THE UNIVERSITY OF CHICAGO * GRADUATE LIBRARY SCHOOL Volume 40 NOVEMBER, 1986 Number 3 New Titles for Children and Young People Aliki. How a Book is Made; written and illus. by Aliki. Crowell, 1986. Library ed. ISBN 0-690-04498-4; Trade ed. ISBN 0-690-04496-8. 30p. Library ed. $12.89; Trade ed. $12.95. Yes, there are other good books on how a book is made, but probably none better for R younger readers, since the comic-strip format and the step-by-step illustrations (line and 1-3 wash) make the information easily accessible. Most books about book production emphasize manufacturing procedures although they do not neglect creative input; here there is full attention paid to author and illustrator and to all of the staff at a publishing house. Aliki's explanation of such procedures as color separation or stages in produc- tion of the printed and bound book are clear, though the level of information varies enough that adult explanation will be required for the technical parts. Also mentioned: the sales force, the reviewers, the librarians, and the bookstore clerks. Ultimately, the book, via library or bookstore, reaches children. ZS C.U. Book Week; Illustrators; Writing for Children Ames, Mildred. Conjuring Summer In. Harper, 1986. Library ed. ISBN 0-06-020054-5; Trade ed. ISBN 0-06-020053-7. 217p. Library ed. $12.89; Trade ed. $12.95. Reviewed from galleys. Fourteen-year-old Bernadette has moved to California with her mother and step- M brother, 19-year-old Keith. She misses her home in Ohio, her grandmother, her dead 7-12 father, and through witchcraft, attempts to cast spells to convince her mother to return to Willow Orchard. Her first-person narration is periodically and confusingly inter- rupted by Keith's third-person version of events, including his guilt feelings about his own father's death, his involvement with "white" witch Giselle, and his growing impli- cation in a series of murders of young girls. Bernadette's faith in the occult is never quite convincing (although Giselle's is), and most readers will spot the real murderer early on. While there are appealing elements here, they are awkwardly jumbled, and the story is hampered by the obtrusive narrative structure. RDS Arnold, Caroline. Genetics: From Mendel to Gene Splicing; Watts, 1986. ISBN 0-531-10223-8. 68p. illus. with photographs. (History of Science) $9.90. Usually a capable science writer, Arnold does only an adequate job of describing the Ad history of the science of genetics, the contributions of individual workers whose theories 6-8 and/or research contributed to present knowledge, and those recent discoveries that have made possible-for good or ill--genetic engineering. The text is competently organized and is written with clarity and directness; it is weakened, unfortunately, by gaps in information (not by erroneous information), a fault echoed by the inadequacy of the illustrative material (no diagram of flower parts to clarify the discussion of fertil- [41] ization, for example, and no schematic drawing of DNA structure). A bibliography and index are provided. ZS C.U. Science Bell, Clare. Tomorrow's Sphinx. Margaret K. McElderry, 1986. ISBN 0-689-50402-0. $14.95. Reviewed from galleys. This is a complex time fantasy in which a young cheetah, Kichebo, black with gold Ad markings and possessed of extrasensory powers, communicates with another on her kin, 7-10 Kheknemt, in the time of Tutankhamen. Kichebo's animal characteristics are vividly depicted, as is her status as a misfit too dark to hunt effectively on the plains or escape the humans who relentlessly pursue her. What's confusing is the fact that the action takes place in the future, after Earth has been depopulated, and the humans are returning from outer space to track the last of the ancient Egyptian cheetahs with the capability of joining their animal perceptions with those of humans. Once this becomes clear, the parallel relationships between Kheknemt and his boy-pharoah master and Kichebo and her young human charge Menk take on a logical momentum that cul- minates in a climactic encounter between Kichebo and the humans who have haunted her life. Meanwhile, what carries the overextended plot is the power Bell has always brought to portraying her anthropomorphized cats in the other books of the series, Ratha's Creature and Clan Ground. This book stands on its own but will prove espe- cially gratifying to those who enjoyed reading the first two. BH Billings, Charlene W. Fiber Optics: Bright New Way to Communicate. Dodd, 1986. ISBN 0-386-08785-X. 60p. illus. with photographs. (A Skylight Book) $9.95. Finer than a human hair, the thin strands of glass that were invented in the 1960s- R optical fibers--have begun, especially when combined with the pure, concentrated light 3-6 of lasers, to revolutionize the communications industry as well as to contribute to other fields. Billings describes the way in which optical fibers transmit the pulsed light that is compatible with computers, and she discusses the many ways in which fiber optics are used in communications, medicine, and industry. The book concludes with a chapter on future uses of fiber optics. The organization of material is adequate, the writing style direct, the explanations of functions clear. An index is provided. ZS C.U. Industries (unit); Science. Branley, Franklyn Mansfield. Journey into a Black Hole; illus. by Marc Simont. Crowell, 1986. Library ed. ISBN 0-690-04544-1; Trade ed. ISBN 0-690-04543-3. 29p. Library ed. $11.89; Trade ed. $11.50. Reviewed from galleys. Simont's paintings effectively convey the mystery and magnitude of the unimagin- R able, the space and distance and density of a black hole. They are deft in interpreting 2-3 Branley's lucid text, which skillfully streamlines the explanation of a complicated astro- nomical phenomenon so that it will be comprehensible to primary grades readers. It isn't just that Branley is an expert on the subject (he is) but that he's an expert on what to omit and to include when writing for younger children, as he describes what a black hole is, how it is formed, and what it would be like to travel to one, if one could (or wanted to) take a journey from which there would be no return. ZS C.U. Science Briger, Achim, ad. The Santa Clauses; illus. by Ute Drause. Dial, 1986. ISBN 0-8037-0266-3. 24p. $10.95. A spoof on society as well as its traditions, this recounts how an item of gossip ("There's no such thing as Santa Claus") becomes news of the day, in lieu of hotter [42] R headlines, and finally reaches the real Santas ('there were... enough to go around at 4-6 Christmas among all the children of the world") in a newspaper wrapped around their yrs.
Recommended publications
  • The English Dream Vision

    The English Dream Vision

    The English Dream Vision ANATOMY OF A FORM J. Stephen Russell The English Dream Vision ANATOMY OF A FORM By J. Stephen Russell The first-person dream-frame nar­ rative served as the most popular English poetic form in the later Mid­ dle Ages. In The English Dream Vision, Stephen Russell contends that the poetic dreams of Chaucer, Lang- land, the Pearl poet, and others employ not simply a common exter­ nal form but one that contains an internal, intrinsic dynamic or strategy as well. He finds the roots of this dis­ quieting poetic form in the skep­ ticism and nominalism of Augustine, Macrobius, Guillaume de Lorris, Ockham, and Guillaume de Conches, demonstrating the interdependence of art, philosophy, and science in the Middle Ages. Russell examines the dream vision's literary contexts (dreams and visions in other narratives) and its ties to medieval science in a review of medi­ eval teachings and beliefs about dreaming that provides a valuable survey of background and source material. He shows that Chaucer and the other dream-poets, by using the form to call all experience into ques­ tion rather than simply as an authen­ ticating device suggesting divine revelation, were able to exploit con­ temporary uncertainties about dreams to create tense works of art. continued on back flap "English, 'Dream Vision Unglisfi (Dream Vision ANATOMY OF A FORM J. Stephen Russell Ohio State University Press • Columbus Copyright © 1988 by the Ohio State University Press. All rights reserved. Quotations from the works of Chaucer are taken from The Complete Works of Geoffrey Chaucer, ed.
  • Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915

    Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915

    Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Susan Casteras, Chair Paul Berger Stuart Lingo Program Authorized to Offer Degree: Art History ©Copyright 2015 Kimberly E. Hereford ii University of Washington Abstract Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford Chair of the Supervisory Committee: Professor Susan Casteras Art History This dissertation examines representations in art of the Victorian woman in “altered states.” Though characterized in Victorian art in a number of ways, women are most commonly stereotyped as physically listless and mentally vacuous. The images examined show the Victorian female in a languid and at times reclining or supine pose in these representations. In addition, her demeanor implies both emotional and physical depletion, and there is both a pronounced abandonment of the physical and a collapsing effect, as if all mental faculties are withdrawing inward. Each chapter is dedicated to examining one of these distinct but interrelated types of femininity that flourished throughout British and American art from c. 1850 to c. 1910. The chapters for this dissertation are organized sequentially to demonstrate a selected progression of various states of consciousness, from the most obvious (the sleeping woman) to iii the more nuanced (the female Aesthete and the female medium). In each chapter, there is the visual perception of the Victorian woman as having access to otherworldly conditions of one form or another.
  • A Hunter's Sketches

    A Hunter's Sketches

    A Hunter's Sketches Ivan Turgenev A Hunter's Sketches Table of Contents A Hunter's Sketches..................................................................................................................................................1 Ivan Turgenev................................................................................................................................................1 i A Hunter's Sketches Ivan Turgenev Translated by Constance Garnett KHOR AND KALINICH ANYONE who has chanced to pass from Bolkhov District into Zhizdra District must have been impressed by the striking difference between the race of people in the province of Orel and the population of the province of Kaluga. The peasant of Orel is not tall, is bent in figure, sullen and suspicious in his looks; he lives in wretched little hovels of aspen−wood, labours as a serf in the fields, and engages in no kind of trading, is miserably fed, and wears bast shoes. The rent−paying peasant of Kaluga lives in roomy huts of pine−wood; he is tall, bold, and cheerful in his looks, neat and clean of countenance; he carries on a trade in butter and tar, and on holidays he wears high−boots. The village of the Orel province (we are speaking now of the eastern part of the province) is usually situated in the midst of ploughed fields, near a ravine which has been converted into a filthy pool. Except for a few of the ever−accommodating willows and two or three gaunt birch−trees, you do not see a tree for a mile round; hut is huddled up against hut, their roofs crudely thatched with rotting straw. The villages of Kaluga, on the contrary, are generally surrounded by forest; the huts stand more freely, are more upright, and have boarded roofs; the gates fasten closely, the hedge is not broken down nor trailing about; there are no gaps to invite the visits of the passing pig.

  • Jean-Luc Ponty Tomeka Reid Reuben Wilson Paul Motian

    JUNE 2017—ISSUE 182 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM CHRIS POTTER LIVING THE DREAM JEAN-LUC TOMEKA REUBEN PAUL PONTY REID WILSON MOTIAN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East JUNE 2017—ISSUE 182 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JEAN-LUC PONTY 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : tomeka reid 7 by clifford allen General Inquiries: [email protected] ON The COver : chris potter 8 by marilyn lester Advertising: [email protected] Encore : reuben wilson by alex henderson Calendar: 10 [email protected] VOXNews: Lest WE Forget : paul motian 10 by john pietaro [email protected] LAbel Spotlight : ROPEADOPE by mark keresman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] IN Memoriam Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Mark Keresman, Miscellany 39 Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Event Calendar 40 Elliott Simon, Andrew Vélez, Ken Waxman, Scott Yanow Contributing Writers Robert Bush, George Kanzler, Matthew Kassel, Marilyn Lester We have referenced poet John Donne’s 17th Century work “No Man Is an Island” in this space before but it seems like a particularly good time to revisit the concept.
  • Billy Cobham the Necks Lester Chambers Gunter Hampel Jack Wright Vision Festival 22

    Billy Cobham the Necks Lester Chambers Gunter Hampel Jack Wright Vision Festival 22

    THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC BARB BFFFFFFFF ANA Billy Cobham The Necks Lester Chambers Gunter Hampel Jack Wright Vision Festival 22 International Jazz News CD Reviews Book Reviews DVD Reviews Obituaries Volume 43 Number 3 July Aug Sept 2017 Haden ad for Cadence.qxp_Layout 1 3/2/17 3:43 PM Page 1 New book about Charlie Haden “Charlie Haden’s story is a classic American saga, and Josef Woodard allows him to tell it elo- quently and in moving detail,” —Francis Davis “Woodard’s treas- ure trove of inter- views with Charlie Haden gives us such an intimate feeling of the jazz giant that we feel like we re sitting in the room with an old friend.... Haden opens up about his iconic musical associ- ates over the years, allowing us rare access into the insular world of jazz itself.” —Michelle Mercer Conversations with Charlie Haden compiles 20 years of award-winning jazz critic and author Josef Woodard’s interviews with Haden, who can- didly talks about his life, politics, music, aesthetics, and the great musi- cians with whom he worked, including Ornette Coleman, Don Cherry, Paul Bley, Carla Bley, Keith Jarrett, Billy Higgins, Paul Motion, Dewey Redman, Pat Metheny, Geri Allen, Brad Mehldau, Gonzalo Rubalcaba, and many others. Published by Silman-James Press (www.silmanjamespress.com). Available now from all good bookstores, as well as Amazon.com. In 1955, Oscar Pettiford introduced us to Bohemia After Dark. Sixty-two years later, Roberto Magris offers his twist on the city with PRAGUE AFTER DARK. Pianist Roberto Magris and his European Trio, featuring Frantisek Uhlir on bass and Jaromir Helesic on drums, swing the night away in Prague.
  • Dmitry Baevsky Nicki Parrott Azar Lawrence Orlando Le Fleming

    Dmitry Baevsky Nicki Parrott Azar Lawrence Orlando Le Fleming

    182121_HH_June_0 5/23/17 6:50 PM Page 1 2017 Festival & THE LATIN SIDE Outdoor Concert Guide OF HOT HOUSE P37 pages 30-37 & 41-42 June 2017 www.hothousejazz.com Nublu Page 4 Jazz Standard Page 17 Orlando le Fleming Azar Lawrence Nicki Parrott Dmitry Baevsky Birdland Page 4 Smalls Jazz Club Page 19 Where To Go & Who To See Since 1982 182121_HH_June_0 5/23/17 6:50 PM Page 2 2 182121_HH_June_0 5/23/17 6:50 PM Page 3 3 182121_HH_June_0 5/23/17 6:50 PM Page 4 Sponsored by Dot Time Records WINNING SPINS By George Kanzler WO 40-SOMETHING MUSICIANS Blossom had a sly sense of humor which from other countries who have become was reflected in her choice of songs, and prominentT on the Big Apple jazz scene as Nicki brings a wry, dryly ironic twist to acoustic upright bassists—Australia's that repertoire. Dave Frishberg's classic Nicki Parrott and England's Orlando le "Peel Me A Grape," inspired by a Mae West Fleming—showcase alternate talents on movie quip, is less comically seductive new CDs that comprise this Winning than Blossom's, but coyer, milking the con- Spins. Nicki does play bass, but features descension of lines like "Never outthink her burgeoning vocal prowess, while me/Just mink me." The track is one of two Orlando eschews his usual acoustic instru- duets on the CD, this one featuring Nicki's ment to concentrate on electric bass. voice and bass with, in his only appearance, Dear Blossom, a Tribute to Blossom Warren Vaché's harmon-muted cornet.