Tuesday, December 25, 2012

Children's Book Review: 'The Christmas Quiet Book' by Deborah Underwood

The Christmas Quiet Book
by Deborah Underwood
Illustrated by Renata Liwska
Houghton Mifflin Books for Children, 2012

If you have children, chances are good that your house is not at all quiet this morning. The Christmas Quiet Book, by Deborah Underwood depicts a world that is gentle and calm, where animals go through the motions of preparing for the holidays without the hustle and bustle and stress that so many of us have come to associate with this time of year.

This tranquil picture of the season will likely appeal to many adults who  yearn  for the simplicity of a bundled-up snow-covered world during the holidays.  Renata Liwska's skilled illustrations of soft and cuddly animals and cozy winter scenes perfectly echo the idyllic theme.

But from the very first sentence ("Christmas is a quiet time..."), the first-graders that I read this story to were confused.  They asked why the short phrases on each page ended with the word quiet, since their experience of the holiday season didn't have this quality at all. After reading the last line, "Christmas morning quiet," (Was this supposed to be irony?!) I asked the children if Christmas morning was quiet at their house, and all of them vehemently shook their heads.

The editors at Houghton Mifflin Books for Children were doubtless hoping that The Christmas Quiet Book would ride on the coattails of the success of Underwood's previous publications, The Quiet Book and The Loud Book!, and perhaps it will. It is a nice book, but it reflects more on our dreams of Christmas than on reality. Parents nostalgic for a simpler time may be eager to share this pastoral version of the holidays with their children, but I think the kids will know better.
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Deborah Underwood is the author of The Quiet Book and The Loud Book!. Her other picture books include A Balloon for Isabel and Granny Gomez & Jigsaw. She is particularly fond of Christmas tree at midnight quiet and evening snowfall quiet. www.DeborahUnderwoodBooks.com

Renata Liwska's favorite Christmas quiet is with family and friends. In addition to illustrating The Loud Book! and The Quiet Book, Renata has written and illustrated Red Wagon and Little Panda. www.renataliwska.com
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Renée Vaillancourt McGrath has worked at Montana Public Radio as a program host since 2002. Her background is in librarianship and she currently works as a freelance editor, blogger, and website developer. Check out more of her book reviews at reneesreads.com.



Monday, December 24, 2012

Monday Poems: "Christmas, Hell" -- by Mark Gibbons


I can't even find time
to write the irrelevant,
irreverent form letter,
for Christ's sake,
let alone wax
poignantly about peace
& joy, chestnuts
or snow, those memories
in slo-mo of dark
mornings we danced
across freezing wood floors
to dig for socks & long johns
in dresser drawers,
bedroom windowpanes
glazed in ice—
we'd run to the living room,
shiver-up to the oil stove,
smell coffee, bacon
cooking in the kitchen,
listen to larch kindling crackle
& the trash burner roar,
Mother's slippers scuffling
the linoleum floor—dishes
clattered as we buttoned
& tugged, pulled on our clothes,
hypnotized by the glow
of icicles & colored bulbs
silhouetting the fir tree
we'd cut down
up Madison Gulch,
the literal presence of wonder
in our black & white eyes—
an evergreen rainbow
topped with a blue star—
it was our chromatic
invitation to dream.

—for Connie
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Mark Gibbons grew up in a small Milwaukee Railroad town in western Montana and, over the course of 25 years, earned BAs in English and Psychology and an MFA in creative writing from the University of Montana. His poems have appeared in numerous journals and anthologies.

Forgotten Dreams, in which "Christmas, Hell" was published, is his sixth collection of poetry.

Friday, December 21, 2012

"In Ignorance We Trust"

A version of this article by Timothy Egan appeared in print on 12/14/2012, on page A41 of the NewYork Times.


A packet of letters arrived the other day from the honors English class at St. Lawrence School in Brasher Falls, N.Y. Snail mail, from high school sophomores? Yes, and honest, witty and insightful snail mail at that. They had been forced to read a book of mine.

“Personally, I don’t like reading about history or learning about it,” wrote one student, setting the tone for the rest of the class.

“The Dust Bowl? Really?” So began another missive. “When we heard we were reading your book…heads dropped. Let me rephrase that, heads fell to the floor and rolled down the hallway.”

You get the drift: history is a brain freeze. And, writers of history, well, there’s a special place with the already-chewed gum in nerd camp for them. But as I read through the letters I was cheered. Some of the last survivors of the American Dust Bowl were high school sophomores when they were hit with the nation’s worst prolonged environmental disaster. In that 1930s story of gritty resilience, the Brasher Falls kids of 2012 found a fresh way to look at their own lives and this planet.

History is always utilitarian, and often entertaining. It stirs the blood of any lover of the past to see Steven Spielberg’s majestic “Lincoln” — at its core, a drama about politicians with ZZ Top beards writing legislation — crush the usual soulless, computer-generated distractions at the box office.

But history, the formal teaching and telling of it, has never been more troubled. Two forces, one driven by bottom-line educators answering to corporate demands to phase out the liberal arts, the other coming from the circular firing squad of academics who loathe popular histories, have done much to marginalize our shared narratives.

David McCullough, the snowy-headed author and occasional national scold, says we are raising a generation of Americans who are historically illiterate. He cites Harry Truman’s line that the only new thing in the world is the history you don’t know. And today, in part by design, there’s a lot of know-nothingness throughout the land. Only 12 percent of high school seniors are “at or above proficient” in American history, which, of course, doesn’t mean they’re stupid.

For knuckleheaded refinement look to the state of Florida, a breeder of bad ideas from its dangerous gun laws to its deliberate attempts to make it hard for citizens to vote. Gov. Rick Scott’s task force on higher education is now suggesting that college students with business-friendly majors pay less tuition than those in traditional liberal arts fields.

“You know, we don’t need a lot of anthropologists in this state,” the governor said in October. “I want to spend our dollars giving people science, technology, engineering and math degrees. That’s what our kids need to focus all their time and attention on.”

Notice he said “all.” If the governor, who’s been trying to run Florida like a corporation, had applied the skills of the liberal arts, his approval rating might be higher than 38 percent. Any anthropologist could tell Scott how he misread human behavior in the Sunshine State.

It’s fine to encourage society to crank out more engineers, computer technicians and health care specialists. We need them. But do we really want to discourage people from trying to understand where they came from? The Florida proposals would enshrine the unexamined life.

This is but one byproduct of the rage among educators to use math and science like a stick against history, literature, art or philosophy.

And yet, as McCullough has said, the keepers of academic gates in these fields are their own worst enemies. Too many history books are boring, badly written and jargon-weighted with politically correct nonsense. There are certainly exceptions among the authors — the witty Patricia Limerick at the University of Colorado, for example, or the prolific Douglas Brinkley at Rice. And I defy anyone to read Robert K. Massie’s “Catherine the Great” (enlightened German teenager takes over Russia) or Erik Larson’s “In the Garden of Beasts” (Nazis, oozing evil in diplomatic circles) and not come away moved.

But in the great void between readable histories and snooze-fest treatises have stepped demagogues with agendas, from Glenn Beck and his paranoid writings on the perils of progressivism, to Oliver Stone and his highly selective retelling of the 20th century.

One of my best friends in college ripped through chemistry, engineering and advanced calculus courses. And then, degree in hand, he felt strangely uncompleted. On his own, and for a full year, he read Tolstoy, Dostoevsky, Fitzgerald and Civil War histories. He spent the next 30 years at Boeing. No doubt, he was one of the few mechanical engineers who not only was aware of Faulkner’s immortal line — “The past is never dead. It’s not even past” — but also understood what it meant.
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Timothy Egan worked for The Times for 18 years – as Pacific Northwest correspondent and a national enterprise reporter. His column on American politics and life as seen from the West Coast appears here on Fridays. In 2001, he was part of the Pulitzer Prize-winning team that wrote the series “How Race Is Lived in America.” He is the author of several books, including The Worst Hard Time, a history of the Dust Bowl, for which he won the National Book Award, and most recently, The Big Burn: Teddy Roosevelt and the Fire That Saved America.”

Wednesday, December 19, 2012

Pam Houston, author of 'Contents May Have Shifted'

Stuck in a dead-end relationship, this fearless narrator leaves her metaphorical baggage behind and finds a comfort zone in the air, “feeling safest with one plane ticket in her hand and another in her underwear drawer.” She flies around the world, finding reasons to love life in dozens of far-flung places from Alaska to Bhutan. Along the way she weathers unplanned losses of altitude, air pressure, and landing gear. With the help of a squad of loyal, funny, wise friends and massage therapists, she learns to sort truth from self-deception, self-involvement from self-possession.

At last, having found a new partner “who loves Don DeLillo and the NHL” and a daughter “who needs you to teach her to dive and to laugh at herself” — not to mention two dogs and two horses — “staying home becomes more of an option. Maybe.”

During this week's program, Chérie Newman talks with Pam Houston about her book Contents May Have Shifted, a novel which Houston admits is about 87% true. So why didn't she publish it as a memoir? Newman wants to know. The answer has to do with the public's perception of truth and, of course, publishing industry lawyers.

During this interview, Pam mentions a piece she wrote titled "Corn Maze." Here's a link to that essay: http://www.hungermtn.org/corn-maze/

Find out more about Pam Houston and her books, and listen to the program on the radio or online.




Tuesday, December 18, 2012

Children's Book Review: 'Noah Webster & His Words' by Jeri Chase Ferris

Noah Webster & His Words by Jeri Chase Ferris
Illustrated by Vincent X. Kirsch
Houghton Mifflin Books for Children, 2012

I had high hopes for Noah Webster & His Words by Jeri Chase Ferris. The story of Webster's life is told in straightforward prose, accessible to older elementary school students. The book ends with a timeline of significant events in America during Webster's life, additional biographical information about Webster, and a bibliography.

The illustrations by Vincent X. Kirsch are charmingly reminiscent of the School House Rock cartoons that I loved as a child, and the characters' heads (particularly Noah Webster's) are oversized and balance precariously on delicate bodies, providing an absurdly humorous touch.

The font is a Times New Roman style which gives the story an old book printing-press feel, and throughout the text, longer words are CAP-I-TAL-IZED [verb: to write or print with an initial capital or in capitals] and followed by parts of speech and brief definitions.

I found all of this to be charmingly fitting for a story about the creator of the first American dictionary.

When I read this book aloud to a group of third grade students, however, I found that it didn't entirely work. It was hard to read the definitions aloud to convey the dictionary meanings. (In fact, when I asked what all of the words were that I kept describing, they were unable to identify them as dictionary entries.) And the first half of the book focuses on Webster's life before he even started work on his dictionary. While this information does provide background on how Noah Webster came to love words, I think it was too much detail to keep children engaged long enough to learn about his greatest contribution and legacy.

And unfortunately, even to people who love words, the story of Noah's growth from the son of a farmer, to a student at Yale, to a schoolteacher, to a writer of school books and spellers and a grammar, to a magazine and newspaper publisher is not particularly enthralling.

One interesting detail that is included is that Webster seemed to see himself as a sort of activist, lecturing across the country about the importance of uniting through the use of a common language. This is when the story gets interesting, and, is also when Webster begins work on his dictionary.

I think the book would have been more successful if Webster's background had been described briefly in the first few pages with the bulk of the story focusing on his creation of the dictionary and his reasons for doing so. That formula, combined with the winning font, text gimmicks and illustrations would have made for a book about the dictionary that would have better done justice to the second most popular book ever printed in English.
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Jeri Chase Ferris is the award-winning author of eleven biographies for children and young adults. She lives in Northern California with her horse, Pamyat, and her dog, Nasha. Visit her website at jerichaseferris.com.

Vincent X. Kirsh is a visual merchandiser, a graphic designer, a toymaker, and a puppeteer when he is not writing and illustrating children's books. Visit his website at vincentxkirsch.com
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Renée Vaillancourt McGrath has worked at Montana Public Radio as a program host since 2002. Her background is in librarianship and she currently works as a freelance editor, blogger, and website developer. Check out more of her book reviews at reneesreads.com.

Sunday, December 16, 2012

Monday Poems: "Why We Are Truly a Nation" -- by William Matthews


Because we rage inside
the old boundaries,
like a young girl leaving the Church,  
scared of her parents.

Because we all dream of saving  
the shaggy, dung-caked buffalo,  
shielding the herd with our bodies.

Because grief unites us,
like the locked antlers of moose  
who die on their knees in pairs.

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William Matthews (1942-1997) was a poet and essayist who held many academic positions during his career. His collections include Sleek for the Long Flight; Time & Money (1996), which won the National Book Critics Circle Award; and Selected Poems and Translations, 1969-1991(1992).

Friday, December 14, 2012

Suzy Bertsche responds to a poem by Amy Ratto-Parks


Unearthing “Evidence”:  Amy Ratto-Parks’ Poetry


We all have different reasons for reading novels, short stories, essays, or poems. No matter why we read, we often find pleasure when something on the page mirrors our own experiences that we had never put into words. This is how I felt reading Amy Ratto-Parks’ poem “Evidence.”

At first I couldn’t pinpoint why I felt a kinship with the poem, but I was compelled to reread it after the last word. The way the poem starts in the middle of a thought, “Never mind. I am a fast healer,” invited me to keep reading and finish the conversation. The four sections of the poem illuminated themselves as ruminations on the process of healing and the scars or “evidence” left behind. Each section details a method of recovery or protection, “My grandmother... collecting gold candy wrappers,” or “My sister” who “convinces herself that she is a cool glass bowl.” The poem demonstrates how we all have our own ways of curing and shielding ourselves from physical and emotional pain.

As I read and underlined “the yellow process of cleansing” and circled an “old scar” being the “skin’s hem-stitched evidence of something too rough,” I reached into my sweater pocket and pulled out an old tissue and three blue cough drops. The tissue and the cough drops were my own “gold candy wrappers” and “cool glass bowl,” they were the “evidence” of my grandmother. In the nine months since her death I hadn’t cleaned out the pockets of her sweater. Ratto-Parks’ poem explained why I hadn’t tossed the cough drops. On the page were words that described how I felt about the tissues, and why I still had the scar.

Ratto-Parks encourages her readers to enter into the musings of her poems. Her use of the prose poem results in her pieces being accessible to nervous readers (like myself) who may be uncomfortable with the meaning of line breaks. The concrete images and conversational tone allows readers to take from her poetry what they want and need. The mystery of my first read of “Evidence” drove me to keep reading and find my own remnants of healing. The thrill of poetry by writers like Ratto-Parks is the possibility to reveal something within the words that uncovers facets of the reader’s life.

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Suzy Bertsche is a senior at the University of Montana double majoring in Creative Writing and Social Work with a minor in South and Southeast Asian Studies. She was born and raised in Missoula, Montana
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