A must for faerie fans who are already hooked on Melissa Marr and her captivating world

“Marr’s trademark use of suspense and romance will make this irresistible for her legions of one bloodfans.” (Booklist)

In this gripping follow-up to Melissa Marr’s lush Seven Black Diamonds,  Lily and her friends are forced to reckon with the truth of their own lineage and to protect one of their own, no matter what-or who-comes between them. Now that Lilywhite Abernathy is the heir to the Hidden Lands, everything is about to change.

“A compelling world of magic, power, and regret.” (Bulletin of the Center for Children’s Books)

The Queen of Blood and Rage wants Lily to help broker peace with the human world, but Lily knows that harmony won’t come easily. After decades of waging war on the humans, who cost the queen her firstborn daughter, the fae are struggling to accept Lily, a half-human monarch. And the humans, while no match against faery affinities, will hardly agree to the queen’s detente without resistance.

“Fans of Marr’s Wicked Lovely books will appreciate her melding of ancient faerie lore with complex contemporary characters.” (Publishers Weekly)

Lily wants to be a fair ruler but fears having to abandon the life she’s known. Now that she and Creed are more than just fellow Black Diamonds-operatives for the queen-her priorities have shifted. But her worries about assuming the throne are derailed when it becomes clear that someone-or some fae-is masterminding violent attacks to discourage peace. Who can end the war between humans and fae?

“Marr’s writing is still lush and beautiful… A must for faerie fans who are already hooked on Marr and her captivating worlds.” (Booklist)

“Once again, Marr has built an urban fantasy world that readers will find irresistible.” (School Library Journal)

See: http://bit.ly/2otZJui

Read more: http://amzn.to/2pxC38E

The Music of Life: Bartolomeo Cristofori & the Invention of the Piano

In The Music of Life: Bartolomeo Cristofori & the Invention of the Piano,  award-winning biographer Elizabeth Rusch and two-time Caldecott Honor–recipient Marjorie Priceman team up to tell the inspiring story of the invention of the world’s most popular instrumentpiano.

Bartolomeo Cristofori coaxes just the right sounds from the musical instruments he makes. Some of his keyboards can play piano, light and soft; others make forte notes ring out, strong and loud, but Cristofori longs to create an instrument that can be played both soft and loud.

His talent has caught the attention of Prince Ferdinando de Medici, who wants his court to become the musical center of Italy. The prince brings Cristofori to the noisy city of Florence, where the goldsmiths’ tiny hammers whisper tink, tink and the blacksmiths’ big sledgehammers shout BANG, BANG! Could hammers be the key to the new instrument?

At last Cristofori gets his creation just right. It is called the pianoforte, for what it can do. All around the world, people young and old can play the most intricate music of their lives, thanks to Bartolomeo Cristofori’s marvelous creation: the piano.

Elizabeth Rusch is an award-winning children’s bElizabethook author and magazine writer. Her books include The Mighty Mars Rovers, For the Love of Music: The Remarkable Story of Maria Anna Mozart, and Electrical Wizard: How Nikola Tesla Lit Up the World. She teaches nonfiction and children’s literature at the Attic Institute in Portland, Oregon. Visit her online at ElizabethRusch.com.

Marjorie Priceman, illustrator of many acclaimed picture books, has won Caldecott Honors for her illustrations in Zin! Zin! Zin! A Violin! by Lloyd Moss and Hot Air: The (Mostly) True Story of the Frist Hot-Air Balloon Ride, which she also wrote. She lives in Lewisburg, Pennsylvania.

Fizzopolis #3: Snoodles! bubbles over with belly burps-and belly laughs

Fiozz“Carman’s wacky words and Sheesley’s loony artwork go together like soda pop and belches!” (Jim Benton, New York Times bestselling author of the Franny K. Stein and Dear Dumb Diary series)

Bestselling author Patrick Carman and Emmy Award-winning illustrator Brian Sheesley will have fans of Big Nate and Timmy Failure bubbling over with laughter in this third installment of the Fizzopolis series.

Help! Gone missing: 100,000 bottles of Fuzzwonker Fizz!

Harold Fuzzwonker and his best good buddy, Floyd, find Fizzopolis in a state of emergency. No Fuzzwonker Fizz! Only one villainous and crummy candy family could have stolen it: the Snoods. Harold and Floyd go on their wildest mission yet and must rescue all the Fuzzwonker Fizz bottles to save Fizzopolis. Burps everywhere are counting on them!

“Fizzopolis bubbles over with belly burps-and belly laughs.” (Tom Watson, New York Times bestselling author of the Stick Dog series)

 

The Best Illustrated Childrens Books

I have always loved picture books. Part of me realizes that I always will.

Throughout the ages, children have been introduced to reading by means of texts bearing pictures as well as words, but it is only in recent years that critical distinctions have been drawn between books where the function of such pictures is merely to illustrate the verbal material, and those where, in one way or another, the pictures have a major role to play in the narrative and characterization, a role which is complementary or sometimes even contradictory to the verbal text. The artwork in both types of book is often of a high standard, frequently receiving its own plaudits from art critics. … The development of such criticism has gone hand in hand with picturebook evolution itself, notably in the years since the publication of Maurice Sendak’s Where the Wild Things Are (1963). — From: Children’s Literature (Readers’ Guides to Essential Criticism) by Pat Pinsen

makewayforducklingsbookcoverChildren’s literature has never looked this good!

Watch this video and share your thoughts on WatchMojo’s list of the Top 10 Illustrated Children’s Books.

Also see The New York Times Best Illustrated Children’s Books of 2016.

One of my favorite books on the WatchMojo list is Make Way for Ducklings by Robert McCloskey. Here is more about it:

“Robert McCloskey’s unusual and stunning pictures have long been a delight for their fun as well as their spirit of place.”—The Horn Book

Mrs. Mallard was sure that the pond in the Boston Public Gardens would be a perfect place for her and her eight ducklings to live.  The problem was how to get them there through the busy streets of Boston.  But with a little help from the Boston police, Mrs. Mallard and Jack, Kack, Lack, Nack, Ouack, Pack, and Quack arive safely at their new home.

This brilliantly illustrated, amusingly observed tale of Mallards on the move has won the hearts of generations of readers. Awarded the Caldecott Medal for the most distinguished American picture book for children in 1941, it has since become a favorite of millions. This classic tale of the famous Mallard ducks of Boston is available for the first time in a full-sized paperback edition.

Make Way for Ducklings has been described as “one of the merriest picture books ever” by the New York Times. And it is ideal for reading aloud.

“This delightful picture book captures the humor and beauty of one special duckling family. … McClosky’s illustrations are brilliant and filled with humor. The details of the ducklings, along with the popular sights of Boston, come across wonderfully. The image of the entire family proudly walking in line is a classic.”—The Barnes & Noble Review

“The quaint story of the mallard family’s search for the perfect place to hatch ducklings. … For more than fifty years kids have been entertained by this warm and wonderful story.”—Children’s Literature

One of my favorite books on the New York Times list is Freedom in Congo Square by Carole Boston Wetherford.

School Library Journal said:

This vibrant picture book examines Congo Square in New Orleans. A foreword and author’s note explain how, historically, slaves in Louisiana were allowed Sunday afternoons off. This custom continued after the territory joined the United States, although in time, New Orleans established one location for all slaves to gather: an area that became known as Congo Square. This unique practice helped enslaved and free Africans maintain cultural traditions. The impact was felt far beyond New Orleans as musicians, dancers, and singers developed, explored, and shared rhythms that eventually grew into jazz music.

freedom-in-congo-square-9781499801033_hrThe text is realistic but child appropriate. Couplets count down the days to Sunday in a conversational tone (“Slavery was no ways fair./Six more days to Congo Square.”). The writing is accompanied by folk art-style illustrations, with paint applied in thick layers. Some images, such as faces, are more detailed, while others are presented as silhouettes. Collage with painted elements is incorporated on occasion. The architecture portrayed evokes the New Orleans setting. Bright colors suggest the exuberance displayed at Congo Square. Spreads where the slaves are finally able to sing, dance, and express emotion contrast effectively with the forced restraint of those depicting the work week. VERDICT Unique in its subject and artistic expression, this beautiful book belongs in most collections.

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Understanding Literature and the Child Reader

A mother reads to her children, depicted by Jessie Willcox Smith in a cover illustration of a volume of fairy tales written in the mid to late 19th century. Source: Wikipedia

A mother reads to her children, depicted by Jessie Willcox Smith in a cover illustration of a volume of fairy tales written in the mid to late 19th century. Source: Wikipedia

Anyone who writes down to children is simply wasting his time. You have to write up, not down. . . . Some writers for children deliberately avoid using words they think a child doesn’t know. This emasculates the prose and . . . bores the reader. . . . Children love words that give them a hard time, provided they are in a context that absorbs their attention. – E. B. White

It might be said that a child’s book is a book a child is reading, and an adult book is a book occupying the attention of an adult, writes  Barbara Kiefer is the Charlotte S. Huck Professor of Children’s Literature at The Ohio State University. Before the nineteenth century only a few books were written specifically for the enjoyment of children. Children read books written for adults, taking from them what they could understand, she said.

Today, children continue to read some books intended for adults, such as the works of Stephen King and Mary Higgins Clark. And yet some books first written for children—such as Margery Williams’s The Velveteen Rabbit, A. A. Milne’s Winnie the Pooh, J. R. R. Tolkien’s The Hobbit, and J. K. Rowling’s Harry Potter stories—have been claimed as their own by adults.

Defining children’s literature is unexpectedly tricky. “To begin with, what is a children’s book?” asks F. Gordon Roe. It is not, it seems, simply a book written for children. Talking of childhood reading in Victorian times, Roe continues:

Some of the works I shall mention were not primarily written for children at all. So far from the works of Scott and Dickens being looked upon as impositions, they were read eagerly by many juveniles, though some of their elders were doubtful about Mr Dickens, who wrote about quite vulgar folk — even pickpockets!

Children’s literature or juvenile literature includes stories, books, and poems that are enjoyed by children. Modern children’s literature is classified in two different ways: genre or the intended age of the reader.

Children’s literature can be traced to stories and songs, part of a wider oral tradition, that adults shared with children before publishing existed. The development of early children’s literature, before printing was invented, is difficult to trace. Even after printing became widespread, many classic “children’s” tales were originally created for adults and later adapted for a younger audience. Since the 1400s, a large quantity of literature, often with a moral or religious message, has been aimed specifically at children. The late nineteenth and early twentieth centuries became known as the “Golden Age of Children’s Literature” as this period included the publication of many books acknowledged today as classics.

Books about children might not necessarily be for them. Richard Hughes’s adult classic A High Wind in Jamaica shows the “innocent” depravity of children in contrast to the group of pirates who had captured them. Yet in Harper Lee’s novel To Kill a Mockingbird, also written for adults, 8-year-old Scout Finch reveals a more finely developed conscience than is common in the small southern town in which she is raised. The presence of a child protagonist, then, does not ensure that the book is for children. Obviously, the line between children’s literature and adult literature is blurred.

Children today appear to be more sophisticated and knowledgeable about certain life experiences than children of any previous generation were. They spend a great deal of time within view of an operating television or other electronic media. According to studies by the Kaiser Family Foundation, children spend eight and a half hours per day consuming media content, often engaged with more than one type of media at a time. Although 73% of those from 8 to 18 years old continue to read for pleasure, the time they spend on reading is only about three quarters of an hour per day.4 Their exposure to broad media content is therefore significant. News broadcasts show them scenes of war or natural disasters while they eat their dinners. They have witnessed acts of terror, air strikes, assassinations, and starvation. Although many modern children are separated from firsthand knowledge of birth, death, and aging, the mass media bring vicarious and daily experiences of crime, poverty, war, and depravity into the living rooms of virtually all American homes. … In addition, today’s children are exposed to violence purely in the name of entertainment.

Such exposure has forced adults to reconsider what seems appropriate for children’s literature. It seems un believable that Madeleine L’Engle’s Meet the Austins was rejected by several publishers because it began with a death, or that some reviewers were shocked by a mild “damn” in Harriet the Spy by Louise Fitzhugh. Such publishing taboos have long since disappeared. Children’s books are generally less frank than adult books, but contemporary children’s literature does reflect the problems of today, the ones children read about in the newspapers, see on television and in the movies, and experience at home.

However, the content of children’s literature is limited by children’s experience and understanding.Kiefer talks about how certain emotional and psychological responses seem outside the realms of childhood. For example, nostalgia is an adult emotion that is foreign to most boys and girls.

Children seldom look back on their childhood, but always forward. Stories that portray children as “sweet” or that romanticize childhood, like the Holly Hobbie books that go with cards and gift products, have more appeal for adults than for children.

There is no single or widely used definition of children’s literature. It can be broadly defined as anything that children read or more specifically defined as fiction, non-fiction, poetry, or drama intended for and used by children and young people.  Nancy Anderson, of the College of Education at the University of South Florida, defines children’s literature as “all books written for children, excluding works such as comic books, joke books, cartoon books, and non-fiction works that are not intended to be read from front to back, such as dictionaries, encyclopedias, and other reference materials”.

The International Companion Encyclopedia of Children’s Literature notes that “the boundaries of genre… are not fixed but blurred”. Sometimes, no agreement can be reached about whether a given work is best categorized as literature for adults or children. Some works defy easy categorization. J.K. Rowling’s Harry Potter series was written and marketed for children, but it is also popular among adults. The series’ extreme popularity led The New York Times to create a separate best-seller list for children’s books.

Despite the widespread association of children’s literature with picture books, spoken narratives existed before printing, and the root of many children’s tales go back to ancient storytellers.  Seth Lerer, in the opening of Children’s Literature: A Reader’s History from Aesop to Harry Potter, says, “This book presents a history of what children have heard and read… The history I write of is a history of reception.”

Editor William Zinsser says:
No kind of writing lodges itself so deeply in our memory, echoing there for the rest of our lives, as the books that we met in our childhood. . . . To enter and hold the mind of a child or a young person is one of the hardest of all writers’ tasks. The skilled author does not write differently or less carefully for children just because she thinks they will not be aware of style or language.

Read Dorthy Strickland’s introduction to Practical Assessments for Literature-based classrooms, by Adele Fiderer

Go through the 16 flashcards and look at the literary elements found in works for children in the first chapter of third edition of Children’s Books in Children’s Hands.

What is your definition of children’s literature?
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Author-Illustrator Elisa Kleven’s Wondrous Worlds (plus a giveaway!) — Writing for Kids (While Raising Them)

Excuse me while I go all fangirl for a moment… I’ve admired Elisa Kleven’s work for years, beginning when I discovered the gorgeous delight THE PAPER PRINCESS…and then the sweet APPLE DOLL. My daughters and I had both books on our regular #bedtimereads rotation. In fact, for months the books never made it back to the […]

via Author-Illustrator Elisa Kleven’s Wondrous Worlds (plus a giveaway!) — Writing for Kids (While Raising Them)

Click here if you love children’s books!

A Magical Tale From Start To Finish!

51wwaq7vpjl“Toren has been through a LOT. With a brother in charge who cares little for the family, she is forced to grow up fast. Toren’s strength is evident from the beginning; her little bits of struggling and defiance are really HUGE leaps of inappropriate behavior where she comes from.”

In Toren the Teller’s Tale by Shevi Arnold, “the main character is obviously a very special person, and I am enthralled repeatedly by Toren’s stories. I even find myself believing that she makes them up on the spot just for me. I catch myself wondering, “How does she do that in MINUTES? I would not be able to rhyme that quickly.”

“Her fantastic storytelling abilities aside, Toren has vast amounts of other talent. She is apprenticed to a wizard, despite the fact that this is illegal, and her training is very thorough. I definitely feel a stubborn streak in Toren, and this makes me like her that much more. Noa also exhibits stubbornness but, for whatever reason, in her I find it rude and insensitive. I connect strongly with Toren, so whenever anyone tries to harm or cajole, her I don’t like them very much.  Overall, Toren The Teller’s Tale is a FABULOUS book that I Highly Recommend to any Fantasy lover.” – Amazon Review

Have you ever been swept away by a story? If you have, you know the magic of the storyteller–and you know that magic is real. This is seventeen-year-old Toren’s magic . . . but is she brave enough to accept the power she holds? When Toren returns home, her little sister, Noa, is full of questions. Why does Toren awake only at night? What causes her almost constant pain? And above all, why, after completing her apprenticeship, has she has decided not to become a wizard? To answer, Toren weaves a tale about a journey that leads her to discover the greatest source of magic in her world–herself. It is a revelation that comes at a high price. Through her darkest years, Toren finds solace and strength in the stories she tells. But her greatest tale is not yet finished. Together with Noa, she sets out on a new adventure. And in the end, she must choose. Will she continue to cling to her dream of an ordinary life, or will she dare to let her own magic shine? TOREN: THE TELLER’S TALE is an inspirational fantasy about the enchantment of literature, because in Toren’s parallel world there is no greater magic than the magic of storytelling. TOREN: THE TELLER’S TALE is the first book in the Toren the Teller series.

Shevi Arnold loves writing, illustrating, and making people laugh—and she’s been doing all three since 1987 when she started working as an editorial cartoonist for a newsweekly. She’s also worked as a comics magazine editor, an arts-and-entertainment writer specializing in comedy and children’s entertainment, and as a consumer columnist. Nowadays, though, she enjoys writing (and sometimes illustrating) humorous fiction, fantasy and science fiction, mostly for children and young adults. Although she’s completed six novels since, she considered her first, Toren the Teller’s Tale, her magnum opus. You can email the author at shevi.arnold@hotmail.com. You can also become a fan on Facebook, follow her on Twitter (@SheviStories), follow her blog http://shevi.blogspot.com, or learn more at shevistories.com.

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