Module Six: Cinderella Skeleton

This is the story of Cinderella. Not your typical beautiful maiden but an already dead, living in the cemetery Cinderella, a ghoul who is as foul as can be.

Bibliography: San Souci, Robert D. ( 2000 ). Cinderella Skeleton. San Diego, CA : Harcourt, Inc.

I loved this book. It's like a book Tim Burton would have written. It has the feel of The Corpse Bride or The Nightmare Before Christmas. I love how the author took a well known story and made it his own. Even a bit more toward the traditional Brother's Grimm version over Disney, which I liked. The illustrations were lovely, too.

Reviews:

Publishers Weekly

"No glass slipper appears in this often funny graveyard romance," PW said. "Instead, the skeletal prince breaks the heroine's shinbone as she flees the Halloween Ball. A Cinderella story that girls and boys will love." Ages 3-7. (Sept.) Copyright 2004 Reed Business Information.

Children's Literature

A very strange Cinderella has unique charm in this macabre version of the familiar story. San Souci tells her tale in a concise, intricate verse form that includes a grisly sense of humor with its vivid description. She is a skeleton, with a witch to transform her pumpkin, etc. and change her rags to fancy gown. Prince Charnel is left with her snapped-off foot bone to match in order to find his lost love for a most unusual happy ending. Catrow's double page scenes are a fair match for this unusual version, with their contrasting misty hues of glowing pinks and bilious yellows, and broken stone walls with creepy vines and creepier creatures. Of course the main characters, with their costumed skeleton bodies and straggly-haired skulls, steal the show. The happy couple, he in Napoleonic hat and uniform and she with a dandelion sprouting from her head, are the epitome of ghoulish parody, a sure hit with middle schoolers. 2000, Silver Whistle/Harcourt Inc., $16.00. Ages 6 to 12. Reviewer: Ken Marantz and Sylvia Marantz

School Library Journal

Gr 3-7-Not for the faint of heart, this retelling continues the author's fascination with "Cinderella" tales. In challenging vocabulary and a complex rhyme scheme, the clever narrative tells of Cinderella Skeleton, a wraith who lives in a mausoleum with her horrific stepmother, Skreech, and stepsisters Gristlene and Bony-Jane. She wiles away her days streaking the windows, hanging cobwebs, and feeding bats until the Halloween Ball invitation arrives. A good woodland witch conjures up the usual participants into a funeral wagon, dragon steeds, a gown, and slippers, but in fleeing from Prince Charnel at sunrise, Cinderella breaks off her slippered foot mid-calf. Gross, yes, though later other ghosts break off their shinbones with the hope of fitting the leg-and-slipper remains ("Wire or glue; you're good as new!" snaps the stepmother as she pulls off each girl's foot). Catrow's wonderfully weird pencil-and-watercolor illustrations feature wiggly lines, lurid pink and bilious green accents, large-eyed skeletons, and grotesque mutantlike creatures. The envious stepfamily conveniently shrivels to dust, which is certainly less horrible than other endings (though younger readers will still be disturbed about those broken legs). This darkly humorous and spooky variation will tickle the twisted tastes of upper-elementary and middle-school readers if it is displayed where they'll find it.-Susan Hepler, Burgundy Farm Country Day School, Alexandria, VA Copyright 2000 Cahners Business Information.|
visitors until mousekins enter their lives. Kurt Cyrus' big, bright drawings are appealing in this whimsical tale. William Miller's Tituba (201897-2, $16.00) will reach ages 6-9 with the story of two Salem Village girls who accuse Tituba, a slave, of witchcraft. Good reading skills required for this picturebook story of a slave woman's dilemma.

Kirkus Reviews

This fancy little piece of septet versifying works nicely as a vehicle to tell the story of the graveyard Cinderella. San Souci (Callie Ann and Mistah Bear, p. 1045, etc.) follows the original tale quite closely, substituting things from the bone orchard where appropriate: her coach is a hearse; the prince is named Charnel; her stepfamily is Skreech, Gristlene, and BonyJane; and, of course, she herself is a skeleton. Instead of simply losing her slipper at the ball, this Cinderella has her lower tibia snapped off. (Picture the prince traveling everywhere with the foot in a velvet case.) Yes, there are touches of the macabre here (each prospective bride pulls her own foot off to try on Cinderella's), but never overmuch or to the point of terrifying. And most of it is hysterically funny. San Souci's verse ultimately takes the show: "Cinderella Skeleton! / The rarest gem the world has seen! / Your gleaming skull and burnished bones, / Your teeth like polished kidney stones, / Your dampish silks and dankish hair, / There's nothing like you anywhere! / You make each day a Halloween." What a picture she makes. Catrow's (The Fungus That Ate My School, p. 474, etc.) artwork is reminiscent of The Nightmare Before Christmas—perhaps that can't be helped when skeletons are the principals—but very much its own thing, with abundant cartoony comic licks and ghoulish creatures galore. (Picture book. 37)

In the library it could be used during Halloween in a holiday display. Or used with a teachers lesson on fairy tales.

Cover rights belong to David Catrow.

Module Five: Forged by Fire

This is the story of Gerald, the story of a young African American boy and his journey to man hood. A story of survival, love , loss, and facing the past.

Draper, Sharon M. (1997). Forged by Fire. New York, NY: Atheneum Books for Young Readers.

Out of all the books I read for this module, this was best. Its doesn't hold back on realism, but doesn't go too far with details that could have been added. Even though this was a story about an African American, I got so involved with the characters that the race of the characters was forgotten and these could be the white kids down the street, I like that. It makes the story all the more realistic. All the more grabbing and doesn't let go story.

Reviews:

Publishers Weekly

This prequel to Draper's Tears of a Tiger is a stark portrayal of a young man struggling to protect his little sister from a drug-addicted mother and an abusive father. Ages 10-up. (Jan.)

Children's Literature

As a neglected toddler of a drug-addict mother, Gerald almost burns to death in his apartment. Rescued by his strong, loving Aunt Queen, Gerald enjoys a warm secure life for a few years; unfortunately, Aunt Queen dies and Gerald's mother and a cruel, abusive stepfather enter his life. The only positive part of this new family is his gentle, younger, half-sister, Angel whom he struggles to protect from his evil stepfather. The author, winner of the 1995 Coretta Scott King Genesis Award, does a good job of depicting Gerald at different ages and stages of his life, from age three to age 17. Social issues are skillfully interwoven into a realistic novel with an admirable protagonist and a page-turning plot.

Children's Literature

It was a big year for Sharon M. Draper who won the Coretta Scott King novel award and was also named the 1997 National Teacher of the Year. The book serves as testimony to her commitment to honestly revealing what she sees in classrooms. It is the story of Gerald who, in early life, almost dies in a fire when his abusive mother deserts him to search for drugs. Until he's nine, he thrives when his tough and loving Aunt Queen takes hold of him. But at nine, his mom's back with an abusive husband and a small sister who he's determined to protect. His reliance and courage gives witness to the spirit of the suffering young.

School Library Journal

Gr 7-10Gerald, a battered and neglected African-American child, is severely burned in a fire at the age of three, having been left home alone by his single mother, Monique. Upon leaving the hospital he goes to live with his warm and caring Aunt Queen. When he is nine, his mother reenters his life for the first time since the accident. Monique introduces him to Angel, his four-year-old half-sister, and Jordan Sparks, Angel's surly father. When Aunt Queen dies suddenly of a heart attack, Gerald is returned to his mother and takes on the role of loving protector of his little sister. He soon learns that Sparks, who mentally and physically abuses all of the family, is sexually abusing Angel. Gerald and Angel's testimony helps send Sparks to prison, but upon his release six years later, he returns to the family, with the blessing of Monique, whose own life is checkered with bouts of substance abuse. A terse confrontation erupts into a fiery climax when Sparks again attempts to molest Angel. The riveting first chapter was originally published as a short story in Ebony magazine under the title "One Small Touch." While the rest of the book does not sustain the mood and pace of the initial chapter, Forged by Fire is a grim look at an inner-city home where abuse and addiction are a way of life and the children are the victims. There's no all's-well ending, but readers will have hope for Gerald and Angel, who have survived a number of gut-wrenching ordeals by relying on their constant love and caring for one another.Tom S. Hurlburt, La Crosse Public Library, WI

Kirkus Reviews

An African-American boy grows into a decent man, a loving brother, and a steadfast son despite the cruelties of his childhood in this latest novel by Draper (Tears of a Tiger, 1994, not reviewed, etc.). Although three-year-old Gerald is burned in the fire caused by his drug-addicted mother Monique's recklessness, his life takes a turn for the better: The court sends him to live with his aunt, Queen. Wheelchair-bound and poor, Queen has a loving heart and boundless spirit that nourish and cultivate Gerald for six years, until his mother walks back into his life. When Queen abruptly dies, Gerald moves into Monique's home, where he becomes devoted to his younger half-sister, Angel, and suffers at the hands of his mother's new husband. Jordan is a bully, drunk, and child molester; while Angel and Gerald get him convicted (the police show up as Jordan is about to abuse Angel), he eventually returns to haunt the family after serving his jail term. While Draper's narrative is riveting, it is also rife with simplistic characterizations: Aunt Queen is all-good, Monique is all-stupid, and Jordan is all-evil. In addition, there are enough logical twists in the plot without the seemingly gratuitous death of Gerald's friend, Rob.
A touching story, burdened by contrivances.

In the library, could be used in a Black History month display, Also could be used in a book talk to bring about awareness of abuse.

Cover rights belong to Anna Scatto.

Module Five: Snapshots from the Wedding

This story is about Maya and her experiences as  flower girl at Isabel's wedding.

Bibliography: Soto, Gary (1997). Snapshots from the Wedding. New York, NY: G. P. Putnam's Sons.

This is the first book I have ever seen that uses clay for the illustrations. I really liked that. It gives the pictures a texture quality and some depth, compared to other mediums. Maya is a kid, and the way she talks about the wedding would be the way a kid would. I loved that. Plus, some Spanish words were used, making the story a bit richer and all the more real.

Reviews:

Publishers Weekly

Photographs of shadowboxes filled with sculpted clay figures form the eye-catching art for Soto's "diary" of Maya, a flower girl. The text, sprinkled with Spanish words, is eloquent and funny (a bride's hands are "soft as doves"; a cousin wiggles his tongue "in the space between his baby teeth, white as Chiclets")-and it deftly captures the flavor of a Latino wedding, complete with mariachi band. Garcia's singular, deliciously creative artwork steals the show here, however. More playful than the dioramas she composed for The Old Lady and the Birds, these lifelike, three-dimensional scenes serve as an elaborate stage set. Readers will be enthralled by Garcia's use of details, from the "actors" and "actresses" decked out in wedding finery to the garlanded ribbons festooned across the shadowboxes to the objects that enhance each scene (tiny silk flowers in the bride's bouquet; potato chips on the buffet table). Using Soto's words as a springboard, Garcia tweaks the perspective, offering a legs-and-feet-only view, for instance, of a scene in which Maya describes the younger wedding guests' "shoes off" romp down the hallway (complete with authentically dusty soles of socks). Another "snapshot" shows a pair of sculpted hands holding a plate with a flower-topped slice of wedding cake. A happy marriage of talents.

Children's Literature

If you've ever wanted to tell a kid what it will be like at Aunt So-and-So's wedding, this book will help. Maya is Isabel's flower girl, thrilled to be wearing flowers in her hair, and telling every detail of the day as only a little kid can. "Then everyone claps and some people hug the bride/ A hundred times, it looks like to me." Shadow boxes filled with Sculpy clay figures seem to be portraits of real Mexican-American people, not just generic bride, groom and family. There is a brief glossary for the handful of Spanish words that appear here and there. The mustachioed mariachi band is delightful, all decked out in their finery. Important bits of art seem to have been mistakenly stuck in the gutter, which is too bad, but overall the impression is lush and inviting.

School Library Journal

Gr 2-5Soto's picture book provides a glimpse into an American cultural traditiona wedding with a Hispanic flair. Maya, the narrator, is a flower girl. Mariachi musicians provide the music, and for dinner the family and friends eat pollo con mole. There is a glossary for the handful of Spanish terms sprinkled throughout the text. Garcia's illustrations are wonderful. Sculpy clay figures are dressed up and carefully arranged in a wooden shadow box frame, and each page is set on a background of pastel with lace. Quirky tidbits sneak into the text and picturesTo Juan itches in his new shirt, Maya sticks black olives on her fingertipsthese details give the narration the quality of childlike observation. The language at other times is quite sophisticated. Children who have been involved in a family wedding will easily draw comparisons to this story.Sharon R. Pearce, San Antonio Public Library, TX

Kirkus Reviews

From Soto (Off and Running, 1996, etc.), a celebratory, child's-eye look at a wedding that captures the traditional mingling of the surreal and the sublime. A flower girl, Maya, tells in a pitch-perfect accent about the groom, Rafael, who is at the altar with his arm in a cast (he slid into home playing softball and scored, but broke his wrist), and a host of other relatives and strangers. Crying babies, the altar boy's dirty sneakers, an inconvenient sneeze, and the glow in the bride Isabel's eyes are reported with equal fervor. At the reception, Maya puts a pitted olive on each finger, finds mole sauce on her gown, and dances, riding on her father's feet. While the family is Mexican-American, the wedding's touching and silly moments are universal. Garcia's illustrations, photographs of Sculpy clay figures and collage, are pink and white and delicious, reminiscent of both reredos and scenes from a dollhouse.
With all the problem books in the world, it's a delight to encounter one that talks about a happy event and its attendant joys. This is a triumph of true-to-life storytelling, with all the good parts left in.

This book could be used in conjunction with a teacher's social studies lesson on Mexico, used during a library time. Could also be used in a display for Hispanic Heritage Month.

Cover rights belong to Stephanie Garcia.

Module Four : shadow of a BULL

Manolo Olivar is the son of a famous bull fighter. Everyone in his town believes that he will be his father's replacement, the next great bull fighter, but Manolo doesn't want to fight bulls, and he must find a way to keep his honor and become his own man.

Bibliography: Wojciechowska, Maia ( 1964 ). shadow of the BULL. Macmillian Publishing Company, Atheneum : NY

I have never really understood the purpose behind bull fighting. It always seem like a dangerous and cruel sport. I didn't really like the pictures, though they were simple and a bit sketch looking but I think this book, too could do with out the pictures and be just fine. The story is very relatable to any age. Who hasn't felt the pressures of being what society wants you to be, what your parents want you to be. I really enjoyed this book, learned a bit more of bull fighting, and found a very realistic character to cheer for.

Reviews:

Children's Literature

This reissue of the 1965 Newbery Award Book features an appealing cover showing a bull just as he passes the torero in the ring. A glossary of bullfighting terms appears in the back. The classic story of coming of age features Manolo Olivar and his struggle to overcome the expectations of everyone in his village and choose his own destiny. Manolo's father, one of the greatest tereros of all time, died in the ring when Manolo was only three years old and Manolo is expected to follow in his famous footsteps. When Manolo reaches his ninth birthday, six men in the town begin his training. They take him to bullfights and explain the moves. They are especially enamored with the honor exhibited in the sport. Manolo practices secretly, but he knows he has no desire to kill bulls. He would rather be a doctor. Manolo must make his stand and declare his intention when he is eleven years old. Young readers will identify with Manolo's soul searching struggle to claim his own identity, The many details of bullfighting may seem strange to readers unfamiliar with this sport, causing some to lose interest. Reading the book aloud in a classroom setting or by a parent with a child could provide opportunities for worthwhile discussions.

School Library Journal

Gr 4-7--Haunted by the legend of his father, a world-famous bull fighter, 11-year-old Manolo Olivar searches for the courage to pursue his own dream. The characters in Maia Wojciechowska's Newbery Medal winning story (S&S, 1964, 1972) come vividly to life through Francisco Rivela's dramatic reading. His melodic voice and authentic Spanish accent draw listeners into Manolo's emotional struggle to remain faithful to himself while retaining the honor of his family and the respect of the townspeople who are looking to him to restore the glory that his father had once brought to their small Andalusian town. Readers unfamiliar with the Spanish terms for bullfighting techniques may find some of the passages hard to follow without consulting a dictionary (the original book included a glossary of terms). Wojciechowska's coming of age story, while set in surroundings unfamiliar to most Americans, will strike a responsive chord with young listeners facing their own issues about growing up, meeting others' expectations, and discovering that there are many different kinds of courage.--Cindy Lombardo, Ashland Public Library, OH

In the library setting it could be used in a Newbery display or used in an around the world display, to get readers to read books about other countries and cultures.

Cover remains property of Alvin Smith.

Module Four : The Whipping Boy

This is the story about an unlikely pair, Prince Brat and his whipping boy, Jemmy, and the adventures they have together, after the Prince decides to run away from the castle.

Bibliography: Fleischman, Sid ( 1986 ). The Whipping Boy. Greenwillow Books, New York : NY

I really enjoyed this story. It had a bit of a Mark Twain feel to that. Reminded a bit of Tom Sawyer and Huckleberry Finn. It left me wanting more, not in a bad way, just more adventures of Jemmy and Prince Brat, because I enjoyed this one so much. A fun and easy going read. Would have been fine without the illustrations, but the illustrations were simple, and well done.

Reviews:

Publishers Weekly

With his flair for persuading readers to believe in the ridiculous, Fleischman scores a hit with his new creation. Sis's skillful pictures emphasize events in the adventures of the orphan Jemmy, kept in his king's palace to be thrashed for the offenses committed by the royal heir, known as Prince Brat. It is forbidden to punish Brat, whose tricks multiply until Jemmy is tempted to escape the daily round of flogging. But the prince himself takes off and forces the whipping boy to go with him. As they get into and out of trouble on the outside, Jemmy hears that he has been accused of abducting Brat. When the prince arranges for their return to the palace, poor Jemmy fears the worst, but things turn out for the best at the story's satisfying close. Colorful types like a thief called Hold-Your-Nose Billy, Betsy and her dancing bear Petunia, et al., increase the fun.

Robin Overby Cox <%ISBN%>0688062164 - Children's Literature

Bored Prince Brat has plenty of attitude and very little compassion when he rousts Jemmy, his whipping boy, out of bed to run away with him. Lest he gets his hide "flogged pink as a salmon" by Hold-Your-Nose-Billy and Cutwater, Jemmy agrees to the Prince's plan to trade places, escape their kidnappers, and return to the kingdom. The dialogue exchanged between a nasty pair of villains, an underdog, and a conniving brat carries the tale of two boys who must learn to rely on one another if they are ever to return to their own lives. Young readers thrive on just such talk and just such adventure. Introducing details of royal life, peasants, and paupers, the author immerses the reader in medieval life. The raucous language draws children into the well-told tale. Fleischman and Sis manage to do what few partners can-simultaneously teach and entertain. Chapter titles such as, "Chapter 19-Being a full account of the happenings in the dark sewers," are part of the romp for captivated readers. Children who enjoy this novel might also choose Karen Cushman's Midwife's Apprentice or Catherine, Called Birdy, Brian Jacques' Redwall series, or Gail Levine's Ella Enchanted. Readers who like the author's voice might also try Edward Eager's Half-Magic series. 2003 (org. 1986), Greenwillow Books,

School Library Journal

Gr 5-7 Roles are changed when young Prince Brat, as everyone calls him (he is so altogether rotten that ``Not even black cats would cross his path''), runs away with Jemmy, his whipping boy (the commoner who takes the Prince's punishments). Because Brat has never learned to write and Jemmy can, a couple of prince-nappers decide that Jemmy is the real prince. Chiefly through Jemmy's cleverness, the two escape and return to court. Brat has learned much and changed for the better during his adventures. He winds up calling Jemmy ``friend,'' and he is certain to be a better prince hereafter. This whimsical, readable story delights in the manner of Bill Brittain's books The Wish Giver (1983) and The Devil's Donkey (1981, both Harper). Full-page black-and-white illustrations somewhat grotesque but always complementary add attractiveness to the story. The mistaken identity plot is always a good one: children, even fairly old ones, like disguises and this kind of mix-up. Supplementary characters are well-drawn both by Fleischman and by Sis, so the whole hangs together in basic appeal. Readers could well move from The Whipping Boy to its much longer cousin, Mark Twain's The Prince and the Pauper. George Gleason, Department of English, Southwest Missouri State University, Springfield

In the library this book could be used in a display of Newbery award books.

Cover rights are owned by Peter Sis.

Module Three: Mirette on the High Wire

This book is about Mirette, who lives in a boarding house. One day, a tight rope walker arrives, and for days Mirette watches him. She then gets up enough nerve to ask for lessons. She begins to learn the tricks of the trade. But her instructor has a secret...

Bibliography: McCully, Arnold Emily (1992). Mirette on the High Wire. G.P. Putnam's Sons, USA: New York

I knew I liked this story but it took me a little while to figure out why. It does have lovely pictures and a good story with a lesson of conquering your fears in it, but my connection to the story goes deeper. when I was a little, I remember going to see the orchestra. I fell in love with the flute. When I had a choice between band and choir, I chose band to learn to play the flute. I understand how Mirette felt when she saw the man on the tightrope, that feeling of I need to do that, I was born to do this.

Reviews:

Publishers Weekly

In this picture book set in 19th-century Paris, a child helps a daredevil who has lost his edge to regain his confidence. Many traveling performers stay at Madame Gateaux's boarding house, but Mme.'s daughter Mirette is particularly taken with one guest--the quiet gentleman who can walk along the clothesline without falling off. Mirette implores the boarder to teach her his craft, not knowing that her instructor is the ``Great Bellini'' of high wire fame. After much practice the girl joins Bellini on the wire as he conquers his fear and demonstrates to all of Paris that he is still the best. McCully's story has an exciting premise and starting point, but unfortunately ends up as a missed opportunity. Bellini's anxiety may be a bit sophisticated for the intended audience and, surprisingly, the scenes featuring Mirette and Bellini on the high wire lack drama and intensity. McCully's rich palette and skillful renderings of shadow and light sources make this an inviting postcard from the Old World. (Oct.)

Children's Literature

The Caldecott award for the year's best picture book in 1992 was given to Mirette on the High Wire, written and illustrated by McCully. Mirette is a fine model for young women five and up. She's a hard working nineteenth century girl who becomes curious about tightrope walking. Mirette is always eager and joyful through falls and triumphs. At the story's end, her compassion, courage, and quick wit help her teacher face his fear. Not only does this book present a strong heroine, but it tells important truths. Adults don't always have the answers. They too suffer from their fears, and understanding can transcend age.

School Library Journal

  Mirette's mother keeps a boardinghouse that attracts traveling performers . The girl is intrigued by one silent visitor, Bellini, who has come for a rest. She finds him next morning walking a high wire strung across the backyard. Immediately, she is drawn to it, practicing on it herself until she finds her balance and can walk its distance. But she finds the man unusually secretive about his identity; he was a famous high-wire artist, but has lost his courage. He is lured by an agent to make a comeback, but freezes on the wire. Seeing Mirette at the end of it restores his nerve; after the performance the two set off on a new career together. As improbable as the story is, its theatrical setting at some historical distance, replete with European architecture and exotic settings and people, helps lend credibility to this circus tale. Mirette, through determination and perhaps talent, trains herself, overcoming countless falls on cobblestone, vaunting pride that goes before a fall, and lack of encouragement from Bellini. The impressionistic paintings, full of mottled, rough edges and bright colors, capture both the detail and the general milieu of Paris in the last century. The colors are reminiscent of Toulouse-Lautrec, the daubing technique of Seurat. A satisfying, high-spirited adventure. --Ruth K. MacDonald

In the library, this could be used during story time or in a Caldecott award display.

Cover remains property of Nanette Stevenson.

Module Three: Many Moons

This book is about a sick Princess Lenore and her father's attempts to get her the moon so she will be better.

Bibliography: Thurber, James ( 1943 ). Many Moons. Harcourt Brace Jovanovich , Publishers. San Diego: CA

 I really enjoyed this story. It had a fairy tale feel to it. I love how innocent and realistic the princess is. She is a child and has a child's understanding. Its nice to see that all the wise men in the kingdom wasn't as smart as The Court Jester.  The illustrations are lovely and only add to the story.

Reviews:

From Publishers Weekly

"Buoyant watercolors, full of poignancy and subtle merriment, more than do justice to Thurber's beloved tale of a princess who asks for the moon, and the wise jester who presents her with it," said PW. Ages 4-8.
Copyright 1998 Reed Business Information, Inc.

From School Library Journal

PreSchool-Grade 3-- Although the Caldecott-winning edition illustrated by Louis Slobodkin (HBJ, 1943) is the one that many parents and librarians grew up with, this new full-color version by Simont has a charm of its own. His illustrations are more modern in appearance, although the essentially periodless style of dress on the characters has the timeless look that this literary fairy tale demands. Backgrounds are generally sketchy, giving the characters center stage. The clever Jester, dressed in fool's motley, is still the only one of the King's advisors who has the sense to ask Princess Lenore just what she expects when she asks for the moon. The pompous Lord High Chamberlain, the skatty Wizard, and the absent-minded Mathematician are as helpless as ever, and the little princess with her common sense and gap-toothed smile is charming. This will delight a whole new generation of children. --Rosanne Cerny, Queens Borough Public Library, NY
Copyright 1991 Reed Business Information, Inc. --This text refers to the Hardcover edition. 

This book can be used in a display of Caldecott award winning books.

The book cover remains property of Marc Simont.