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PreSchool-Grade 3-Narcissistic Mrs. Chicken, not satisfied with the small reflection she can see in a puddle, makes her way to the river where a hungry predator lies in wait. Seeing Crocodile instead of herself in the water, she is amazed by what she thinks is her new appearance and turns this way and that while the wily reptile mirrors her movements. When Mrs. Chicken steps into the river for a closer look, Crocodile quickly catches her and takes her home to eat. But the fowl turns out to be clever enough to concoct an egg-switching scheme that convinces Crocodile that they are sisters, and Mrs. Chicken eventually wins freedom for herself and her offspring. Told in straightforward language, this trickster tale is smart and funny. The story, which comes from the Dan people of Liberia, previously appeared in the retellers' Why Leopard Has Spots (Fulcrum, 1998), and this newly illustrated version is perfect for a younger audience. The stylized, gouache artwork is strong and streamlined, and not bogged down with detail. Curving lines depict the river, white backgrounds represent the outdoors, and glossy black delineates Crocodile's lair, which is decorated with geometric borders. The layout is effective, with parts of the reptile's body often extending off the page to insinuate size. The flat paintings recall folk art, and Crocodile's checkerboard skin reflects the patterns found in her home. This delectable offering will be a hit in storytime. Susan Oliver, Tampa-Hillsborough Public Library System, FL
When Mrs. Chicken walks down to the river to admire her reflection, she becomes crocodile bait! Dragged to a reptilian lair to be gobbled upon, she cunningly convinces her foe that they are actually sisters, and feasting on family is of course in bad form. Crocodile decides to let her prove their familial ties, figuring it will give her time to fatten up her future dinner. As both bird and beast lay their eggs, Mrs. Chicken does a bit of quick change and clever thinking to save the day. No wonder why chickens always take their baths in puddles! Folksy, engaging art in bold tones and patterns is a perfect accent for this suspenseful Liberian folktale.
"Long ago, Head was all by himself." With no arms or legs, Head rolls everywhere and can eat only the things he can reach on the ground. While dreaming of sweet cherries beyond his reach, he meets up with two Arms who cannot see. Together they pick and eat the cherries and are satisfied until they spy a mango tree across the river. Other body parts soon come along, and after they sort themselves into the proper configuration, the newly whole person stands up on tiptoe to pick the delicious mangoes. This simple fable about working together is related in a straightforward text; humor is inherent in the situation of the stray body parts bumping into trees and attaching themselves to one another in impossible ways-head to bellybutton, legs to hands, elbow to chin. Stylized black body shapes move through a setting that suggests lush vegetation: the gouache paintings contain images of plants and animals amid decorative borders and Matisse-like design elements. A brief author's note says that the story from the Dan people of Liberia is told to children "to illustrate the importance of cooperation"; the message is clear but takes second place to the strange and silly tale and the enticing illustrations in ripe fruit colors. L.A.
This humorous story from Liberia's Dan people suggests that all must work together to succeed in life. A disembodied Head rolls along but can't get the cherries or mangoes he wants to eat until he discovers Arms. Arms attach to Head and they are nearly squashed by Body. As Head assembles various parts, each piece attaches itself in a strange way until finally, with the addition of Legs, Head can recompose to make a full person-and those mangoes are delicious. The story is enhanced by expressionistic paintings whose bright-colored backgrounds make the black-and-yellow figures stand out. Colors and patterns were inspired by flags from the Fante people of coastal Ghana. Perfect for flannelboard and silly enough to enchant young listeners, this is a good tale to add to the storytelling repertoire. Susan Hepler, Burgundy Farm Country Day School, Alexandria, VA
"Long ago, Head was all by himself," begins this African creation story about how the human anatomy came to be. "He had no legs, no arms, no body. He rolled everywhere. All he could eat were things on the ground that he could reach with his tongue." Lippert and Paye previously collaborated on Why Leopard Has Spots: Dan Stories from Liberia, and the two here relate this traditional tale of cooperation from Paye's Dan tribe. Bordered in a distinctive lilac and orange pattern of oblong blocks and zig-zags, Paschkis's (Happy Adoption Day) gouache illustration shows "Head," a bold, ebony, free-floating shape resembling an African mask, against a deep blue background. When he attempts to shake down a cherry tree by rolling headlong into the trunk, Head meets Arms and convinces the appendages to form a partnership: "They... attached themselves to Head above the ears." Later, a lime-green wash provides vivid contrast as Head and Arms meet Body and attach themselves just above the sloping arch of his belly. A series of witty images depicts the group as they team up with Legs and negotiate their proper places. The action plays out against a background so saturated with citrus colors that the spreads resemble African fabrics in their beauty and fluidity. This attractive volume delivers its upbeat message with intelligence and humor.
In this light-hearted creation story from the Dan people of eastern Liberia, Head is rolling around wishing he could reach the cherries on top of the tree instead of just eating "things on the ground that he could reach with his tongue." A chance meeting with Arms (which attach themselves to Head) results in Head (and Arms) being able to reach the delicious cherries, after which a nap is in order: "'This,' said Head, 'is perfect.'" Encounters with a stray body and a pair of legs (all apparently at loose ends) result in the first fully formed human being and a very funny story. Paschkis' gouache illustrations (according to the liner notes, inspired by "the Asafo flags of the Fante people from coastal Ghana") have a Matisse-like feel; the spacious compositions are composed of collage-like individual elements set against vivid, sunny colors. Head's simple facial features are remarkably expressive, and the rest-of-the-body language is surprisingly articulate. Beginning readers will appreciate the simple, dialogue-dense text, and the jocular storytelling style and jovial complementary illustrations will make this a favorite of young listeners. A brief source note is included. JMD
Gr. 3-6. The title story and others in this inviting collection are sure to ring a familiar bell with lovers of African folklore. These lively how-and-why tales with their mostly gentle morals are universal in their appeal and offer traditional mainstays of the lore, such as the lazy, crafty spider and the hungry crocodile. Lovers of Anansi tales will find very similar stories of a lazy spider scheming to get out of working or trying to attend two feasts at the same time. Familiar, too, are Bryan's striking black-and-white linoleum-cut prints that show the power of the eagle's wings and the strong, graceful movement of the crocodile's tail. Together, the art and words make rousing tales for new readers and the initiated. Denia Hester
Featuring strong repetition, lively dialogue, and morals pithily wrought, these six Liberian animal tales will be a boon for story hour. Audiences will enjoy the humor (try ''Why Spider Has a Big Butt''), and storytellers will appreciate the good notes and illuminating glossary. Bib. Copyright © 1999 The Horn Book, Inc. All rights reserved.
Gr. 3-5. This is a successful collaboration between a Liberian from the Dan ethnic group, who retells six stories he heard from his grandmother, and a U.S. teacher/storyteller-with Ashley Bryan's rhythmically patterned black-and-white linoleum prints decorating the text. Spider is the main character, and he assumes the varied roles of a trickster, mostly the victim of his own failings and foil of his own jokes-children will especially enjoy "Why Spider Has a Big Butt"! Other tales include "Why Leopard Has Spots," "Mrs. Chicken and the Hungry Crocodile," "The Talking Vegetables," "The Hunger Season," and "Spider Flies to the Feast," all told with an artless simplicity of style that will make them prime-time readalouds, readalones, or storytelling sources. This is an unusually good and accessible collection of tales for this age group-the storytelling voice is fresh and invigorating, and the polished but unglamorized design of the book itself has an easy appeal. An introduction gives cultural background, while several sections at the end of the book provide notes on the stories, a glossary, a bibliography, and a profile of the contributors. Betsy Hearne
"What a treasure this book is—stories from a traditional teller put into clear and lyrical prose. These tales beg to leap again off the page, so read them silently, and then aloud."
- Jane Yolen
author of Favorite Folktales from Around the World and Owl Moon
"The authentic folktales in this book captivate, entertain, and educate readers of all ages. An excellent resource to have both in school and home."
- Vincent Muli wa Kituku
author of East African Folktales: The Voice of Mukamba
"In this finely crafted book Won-Ldy Paye and Margaret H. Lippert offer us an introduction to the vibrant Dan culture of Liberia."
- Diane Wolkstein
author of The Magic Orange Tree and Other Haitian Folktales
For more information about StoryPower®, please email me at: info@StoryPower.net.