Review of New Kid

New Kid by Jerry Craft

Genre/Category

New Kid is a realistic fictional graphic novel. The category I am reviewing for is Pre-K-6th grade Coretta Scott King Winner.

Target Age Group

New Kid is recommended for middle schoolers aged 8-12. 

 

Summary

In New Kid, Jordan faces hardships of fitting in at an unfamiliar school, trying to make new friends, dealing with mean upperclassmen, and, most of all, facing microaggressions and discriminatory remarks and acts from his peers and teachers. Jordan is not only the new kid at Riverdale Academy Day School, but throughout this narrative, he learns that he has discovered a new version of himself as well.

Justification

This Coretta Scott King Award winner has been on my TBR (To Be Read) list for a while. You've probably seen it displayed in your local library somewhere! I've heard great reviews from friends and was excited to have had a chance to sit down with it. This title is beneficial for young people who have been discriminated against, stereotyped, or made to feel different in a new place. There is a lot to learn from how Jordan encountered these hardships and navigated standing up for himself and others. 

Evaluation

This book has a lot to it. To cover a few key aspects, I have chosen to evaluate the illustrations, themes, and characterization.

Illustrations  

Being a graphic novel, the illustrations in New Kid do more than supplement the narrative. They provide a side-by-side visual aid to represent how Jordan's experience make him feel. When entering the cafeteria for the first time, instead of saying he "felt small," he is made to be the size of a milk carton against the other normal-sized kids. When his parents are fighting, he is drawn as a baby with a pacifer in his mouth. When he doesn't connect with another student, the two are drawn on different planets. All of these emotions could be expressed in words, but by seeing them drawn out, the reader can relate to times when they have experienced similar moments and how different, isoloating, and confusing they can be. Illustrations also offer visual representations of how other characters are feeling as well. One of the only other Black students, Maury is bullied by his classmates and called "Maury-O." Jordan's guide, Liam, doesn't understand the reference because he cannot relate to Maury's experiences. Jordan understands immediately, however, and explains they are calling him "White on the inside. Black on the outside" (Craft, 2019, p. 26). This metaphor could be explained in words alone, but the visual metaphor of Maury's saddened face on his head as a cookie provides a harsher depiction for the reader. 

 

Themes 

New Kid demonstrates that discrimination is complex and comes in many different forms. Jordan and other Black students at RAD experience daily microaggressions, stereotyping, and overt racism. Being in a new environment, Jordan also has to adapt and learn about the new sports and routines of his peers. Throughout the narrative, Jordan finds comraderie with his guide Liam, a wealthy white student who Jordan learns is also fearful of being judged. He also befriends Drew, another new student who experiences discrimination from his teachers and peers. Maury, who has been attending RAD since kindergarten and comes from a wealthy family, is still discriminated against because of his skin color. At the school book fair, a teacher gives Maury a book entitled The Mean Streets of South Uptown which he then gives to Drew. Throughout the narrative, Jordan learns important lessons for young readers to learn, one being the importance of finding true friends and standing up for oneself and others in the face of bullying and mistreatment.

 

Characterization  

New Kid contains well-developed and dynamic characters that grow and transition throughout the narrative. Not only do the readers see Jordan's development, but also Liam's, Drew's, and Alexandra's. Despite being the new kid who feels out of place, by the end of the narrative Jordan goes out of his way to make Alexandra, a girl who has been outcast since she wears a sock puppet on her hand, feel understood and makes sure she knows she has a friend. Drew and Jordan are able to bond over shared experiences of mistreatment at their school and find ways to cope with it. Liam is able to trust Jordan enough to open up about his home life. The character development that can be traced throughout the narrative is a testament to the careful consideration that Craft has put into this novel.

Reference 

Craft, J. (2019). New Kid. HarperCollins.

Review of Where is Walt Disney World?

Where is Walt Disney World? by Joan Holub

Genre/Category

Where is Walt Disney World? is an informational, historical non-fiction book. The category I am reviewing for is Pre-K-6th grade Informational or biography.

Target Age Group

Where is Walt Disney World? is recommended for middle schoolers aged 8-12. 

 

Summary

Where is Walt Disney World? follows the story of both Walt and Roy Disney and their business ventures, creative beginnings, and the inception of Disney World. A deep dive into all things Disney World, this title brings the reader through an overview of each main park attraction, the inner workings of the park, the historical start, and the contemporary changes it continues to make.

Justification

The Where Is? series is a New York Times Best-seller that covers various historical and contemporary people, locations, and animals. A newer title in the series, I was interested to see what contemporary and historical information Holub would include about Disney World, and if the information would be presented in a fresh, exciting way. Disney World is an object of fascination for people both young and old, so this title could be one of interest for all ages.

Evaluation

To discuss both the facts, presentation, and visual components, I have focused my evaluation on the book's compelling/interesting information, style and language, and illustrations. 

Compelling/Interesting Information 

Where is Walt Disney World? compiles the extensive history of Disney World plus a short biography of Walt and Roy from their childhood into adulthood into an easily digestible and enjoyable read. The short book, only about 100 pages, covers how long it took to build Disney World took, the history of Mickey Mouse and Imagineers, the creation of the long-standing park centers, and more. There is a generous mix of basic definitions, common knowledge about Disney, and little known facts to keep the reader interested in learning more with each new page. For example, to ensure the younger audience is able to follow along with the historical narrative, factoids are included such as "They're called theme parks because most of what's in each park is built around a main theme or idea" (Holub, 2018, p. 27). When diseccting such a magical place such as Disney World, it can be easy to lose the magic that makes such a place exciting especially to a young audience. However, this book does well with keeping that magic alive. For example, when discussing how cast members move between different park operations, Holub explains the series of tunnels that exist below the park, a lesser known fact that creates intrigue about how the park operates in clever ways. Plus, the hidden trash chutes below each trash can was interesting to learn about as well!

Style and Language 

With historical non-fiction, it can be easy for audiences of all ages, not only children, to lose pace of interest in the factual information without a fictional world of characters to keep one's interest. In Where is Walt Disney World?, Holub plays with language in a way that keeps the reader interested as if she is there with us telling us this magical history. Holub uses various forms of figurative language such as similes and imagery, exclamation marks, and italicized wording to indicate tone. Holub (2018) also includes questions addressed to the audience to consider before revealing an explanation such as "Have you ever wondered how Disney characters seem to magically appear in their correct lands?" (p. 50). The overall tone is casual and conversational which is important when relaying historical facts so that they appear accessible and timeless. 

Illustrations

Disney World is an expansive place consisting of thousands of cast members, and the history of its creation involves many different agents. The usage of words alone can be challenging when relaying this information, that is why the addition of illustrations in this book is helpful and adds an immersive quality that would be missed if absent. All illustrations are completed in black and white with (I believe) charcoal or graphite. While detailed, the illustrations also add to the casual tone created by the language. They are simple in style and often highlight the happy, smiling faces of children and parents as well as the grand, magical scenery of Disney World. Some images take up entire pages, while others are added in between paragraphs. Whereever they occur, they are seamless with the narration of events and help the reader to experience the feeling one is bound to have in such a happy envrionment built by the dreams of two brothers.

Reference 

Holub, J. (2018). Where is Walt Disney World? Penguin Random House.

Review of Legends of Lotus Island: The Guardian Test

 Legends of Lotus Island: The Guardian Test 

by Christina Soontornvat

Genre/Category

Legends of Lotus Island is a fictional children's novel primarily of fantasy and adventure. The category I am reviewing for is Pre-K-6th grade Bluebonnet Award Nominee. 

Target Age Group

Legends of Lotus Island is recommended for children aged 8-12, or those in 3rd-7th grade. 

 

Summary

In a world where few are in tune with their guardian abilities (the ability to transform into a magical creature in order to protect the natural world), young Plum is admitted into an academy to learn how to unlock such abilities. Plum must train in the arts of Breathing, Heart, and Hand in order to pass her transformation test and become a Novice, and ultimately a guardian. Along the way she makes friends, and frenemies, who challenge and help her grow. The first in a series of 4 books, The Guardian Test sparks the beginning of Plum's journey and hints at a potential conflict between human greed and the Guardians.

Justification

With Christina Soontornvat being a two-time Newberry Honor recipient, and Legends of Lotus Island a Texas Bluebonnet Award nominee, I was excited to embark on this fantasy adventure. Fantasy/adventure series such as this were what sparked a love of reading for myself when I was younger. Immersing oneself in a fantastic world of magic and creatures is a rewarding experience for all ages.

Evaluation

While this title is rich for evaluation in many areas, I have limited my scope to the setting/world-building, conflict, and characterization.

Setting/World-building 

From the unique island, fruit, and animal names alone I was interested to understand the world I was reading about. "Fox-bats," "Chai-melon," "Gillybears," "Big Crab Island" and more are all elements that create a whimsical mood throughout the narrative. The magical elements of this world are not without purpose, either. Plum's guardian power is directly tied with her connection to communicate with nature and animals, making the world feel alive as it aids our protagonist. The guardian forms are purposeful in the narrative's world-building as well. Similar to familiars, a person's guardian form is related to their specific power such as large bird form being able to flap its wings and bring a sense of calm over another person. Overall, Soontornvat's worldbuilding develops with the character's connected to it, allowing for the reader to make interesting connections and observations throughout the narrative.

 

Conflict 

The conflict in The Guardian Test is layered both internally and externally. Internally, Plum is tasked with living up the potential her mother has set out for her without fully knowing what it is, dealing with her cruel dormmate Rella, and trying to unlock her guardian form whilst knowing she is intuitively different from her peers. Externally, there is a hint of future potential unrest between the guardians who serve the natural world and order, and human civilizations whose greed threatens the balance of nature. Though this is the first book of four and this external conflict will hopefully develop further, I would have appreciated more insight into this conflict as it would have created more urgency for Plum and her friends to develop their guardian forms. Both nature vs. human and human vs. human conflicts are at play in this novel, and the complexity of the layered conflict creates tension that the reader is eager to see unfold. 

 

Characterization 

The Guardian Test begins quickly and does not slow down. Plum learns about her admittance into the Guardian Academy right away, and from then on is determined to excel in her classes, connect with her peers, and transform into her Guardian state to fulfill her mom's dream she has for her daughter. With how much Plum is experiencing, the reader is given more about what Plum does than who she is. We know that she was raised by her grandparents, is kind and eager to make friends, is a motivated and dedicated young girl, and can communicate with plants and animals. As this is the first book in a series, this novel has does an excellent job at establishing the world and laying the foundation for Plum on her journey to understand her powers within. Her interactions with other characters (who are all quite dynamic and fun to read) were realistic and provided insight into her good nature as well. This novel laid the groundwork for a narrative with great potential of further characterization and conflict development and I am excited to finish the series.

Reference 

Soontornvat, C. (2023). Legends of Lotus Island: The Guardian Test (Kevin H., Illus.). Scholastic.

Review of Alone

 Alone by Megan E. Freeman

Genre

Alone is a fictional novel-in-verse. Other genres include Adventure, Survival, and Dystopian. The category I am reviewing for is Pre-K-6th Poetry or Novel in Verse.

Target Age Group

Alone is best suited for middle schoolers around 10-13. Note: themes of mild violence and profanity. 

Summary

Alone follows 13-year-old Madeleine as she coordinates a sleepover gone wrong. With each parent thinking she is at the other's house when she is really alone at her grandparent's house, a sudden national crisis triggers a widescale evacuation, leaving Madeleine left behind and alone with only her neighbor's Rottweiler. The pair must learn to adapt and survive in this new life and wait for both a strange impending national emergency and for rescue to arrive if it ever will. 

Justification

Novels-in-verse are a lesser common genre, especially those geared toward younger audiences. Similar in mood to Hatchet, I was interested to see where Freeman would take the plot of this apocalyptic, survival narrative. With a female protagonist leading the tale, this novel is an important one for young teens to read due to its themes of self-reliance, perseverance, and resilience. 

Evaluation

Though I would like to analyze each poem, I have limited my evaluation to characterization, figurative language, and pacing.

Characterization 

Madeleine is placed in an unimaginable scenario. Her whole family may possibly be dead, no one knows where she is, and she doesn't know if anyone in the world is alive, what the national emergency even is, or how long she will survive after food runs out. Being only 13 years old, Madeleine has to grow up fast to survive. Due to the serious nature of events in this book, Madeleine's character development happens rapidly. There are few moments when we see her vulnerable side as she is steadfast in her resolution to stay alive. When the readers are allowed these moments, it only makes them more powerful and makes us realize that, despite her looting, literacy, and intuition, she is still just a kid. For example, halfway through the novel we receive this honest admittance: "I am so tired of holding it all together" (Freeman, 2021, p. 201). There are also times such as when she must drive her mom's minivan where we are let inside her thoughts: "WhatifIgetintrouble / fordrivingunderage?" (Freeman, 2021, p. 143). Despite surviving alone in an apocalypse, there are still parts of Madeleine that reflect her life before the disaster. She is a child that does not want to get in trouble. One other important aspect of Madeleine's characterization is how her family becomes a more intertwined aspect of her personality. Madeleine realizes, "I don't recognize / my face / but / I see / my father / in my / hands" (Freeman, 2021, p. 117). In the heightened state she must constantly exist in, she barely has time to reconcile with her rapidly changing identity, but recognizes the people who are no longer there with her who have had a monumental impact on her development. 

 

Figurative Language 

Using ample figurative language in children's literature is a fun, beneficial way to get young people interested in reading and in language more broadly. Being a novel-in-verse, language is used in deliberate and creative ways. For example, to showcase the short, breathless thoughts Madeleine often experiences, Freeman (2021) spaces out each word with each breath such as in the lines: "muscles / explode / pedals / blur" (p. 104-105). Freeman also employs dramatic similes and metaphors to not only allow the reader to experience what Madeleine is, but to explain scenarios in ways that make sense to a teenager, because they are being explained by one: "Sometimes / the way my mom talks to me / feels like a scratchy shirt tag / on the back of my neck" (Freeman, 2021, p. 5). A personal favorite metaphor of mine that Freeman (2021) uses is "The sky is guacamole" (p. 212). Madeline states this when a tornado is occurring. Metaphors such as these prompt the reader to ask "how can a sky be guacamole?" But when considering that tornadoes create a mix of objects and weather in the sky, to our young protagonist this is a clever comparison on point with her character. Freeman's (2021) use of figurative language further allows us into Madeleine's mind with personification such as: "loneliness and insanity / are twin houseguests / and / it's hard to entertain one / without inviting the other in / as well" (p. 251). In addition to being a poignant, relatable observation, this line allows the reader to understand the internal struggle that Madeleine is at war with throughout the duration of the narrative. She is alone, but she must hold on to her mind.  

 

Pacing  

One benefit of writing in verse is that pacing can be structured in different ways. Each new poem gives the reader a sense of where we are the story. For example, often times seasons are used as titles, allowing us to keep track of where we are in the current year. Seasons and weather are especially important in the pacing of the novel since, as Madeleine must survive in different ways depending on the changing weather, the reader gets a sense of how much time has past by each changing season and event. There are times when gaps between entire months are included, but this decision makes sense according to the plot. When surviving alone, there ought to be days when not many events happen. Other days such as when looters arrive or extreme weather occurs, there is more to include. When these tense events do happen, Freeman's use of one word lines actively tracing what Madeleine is feeling or doing quickens the pace significantly and allows the reader to feel her anxiety as well. When less tense events are happening, lines become longer in length and the language is less action-worded and more reflective. Overall, the pacing is even.

Reference 

Freeman, M. E. (2021). Alone. Simon and Schuster. 

Review of BIG

    BIG by Vashti Harrison 

Genre/Category

BIG is a work of children's fiction. The category I am reviewing for is Pre-K-6th grade Texas 2x2.

Target Age Group

This children's picture book is suitable for kids aged 4-8, or in preschool through 3rd grade.

Summary

BIG follows an unnamed, young ballet dancer as she experiences the hardships of growing up and being labeled as "bigger" than other children and is given limited opportunities compared to her peers as a result of their perceptions of her. Despite the poor treatment she receives and the name-calling, our protagonist learns the importance of self-acceptance and self-love. She learns that she is in control of defining herself instead of internalizing the words and categories others place upon her.

Justification

This Texas 2X2 from New York Times bestselling creator Vashti Harrison is a recent publication within the last couple of years that has been receiving a lot of circulation at the public library I work at for great reasons! BIG is a book that deals directly with self-love and body acceptance in the face of societal expectations on young Black girls. It contains important themes that should be accessible for all children to understand themselves, their bodies, and why the only voice that matters when it comes to opinions about how to exist in the world is one's own.

Evaluation

Though this title is rich for analysis in many aspects, I have limited my scope for this review to the book's illustrations, dialogue, and points of view.

Illustrations

Some of the first aspects that stand out in BIG are the chalk illustrations and pastel pink accents all  over each page. This combination creates a feeling of nostalgia, girlhood, and femininity. Our protagonist is also illustrated in a way that highlights her facial expressions, love of ballet with her outfits, and her graceful movements. As this is her story, the illustrations aid in bringing her to the forefront, as her brown skin and dark curls are crafted in great detail, and other characters exist as one-dimensional pink shadowy figures. Illustrations in BIG create a fluid sense of movement as the protagonist moves across the pages. Notably, what the illustrations do above all else is exemplify the way the harsh critiques from other people make the protagonist feel inside. As the words literally come at her, she begins to internalize them, becoming larger and devoid of her favorite color, pink, as she fills up the pages. When she begins to define herself instead of letting others do so, she returns back down to size.  

Dialogue

In BIG, words are often built into the illustrations themselves. The color, typeface, size, and capitalization of the words all create different effects. For example, when defining herself, the protagonist's words are pink, cursive, and flowy. When others describe her in harsh language the words are darker, in print, and sometimes all caps. The words themselves get larger in some instances as well, as if literally attacking her. Playing with language in this way is an effective tool in helping young audiences to see the impact of one's words. In many cases, words can feel alive and have real, lasting effects. Additionally, words we use to define ourselves can also be powerful, such as in the final pages when the protagonist's word return to being curly and pink as she reminds herself of all the qualities she chooses to focus on and love. 

Point of View/Perspective

BIG primarily is told from the perspective of a third-person narrator in the past tense. The narrator presents themselves in more of an adult position recounting the story of our protagonist. The dialogue and illustrations evaluated previously also allow for multiple perspectives to exist at once. While the narrator's matter-of-fact voice retells story events, the perspective of our protagonist exists in her thoughts, facial expressions, and actions. The background characters that impact the protagonist share their perspectives through their own words, actions, and expressions. Having multiple perspectives at once in addition to the narrator guiding us along makes for a dynamic and engaging narrative. It helps us to know what is happening, as well as how the characters are reacting, allowing us to engage with the mood as it changes. 

Reference

Harrison, V. (2023). BIG. Hatchette Book Group.