Annotated bibliography of story books

Annotated bibliography of story books

Stein, D. E. (2012). Because Amelia smiled. Candlewick Press.

A sequent of kind acts is seen to materialize in the heartwarming but never sentimental narrative by Stein. Thus, “because Amelia smiled as she came down the street, Mrs. Higgins smiled back and thought of Lionel, her grandson who was in Mexico, and as a result baked cookies to send over to him.” The cookies that Mrs. Higgins send to Lionel as a gift inspire one of his learners to become an instructor in kickboxing; moreover, her video finds its way to England, and as a result is seen to inspire a number of virtuous acts in various nations and cities including Paris, Israel, Italy, as well as back to Amelia who lives in New York City. The spreads used by Stein’s are densely colored using crayon lines and pencils and are also crammed with a lot of visual information. In the narrative, Lionel is observed in his apartment within unnamed Mexican city; however, the author draws a portrait of the entire neighborhood where Lionel’s lives, alongside its many tiled roofs, the starry night sky, the dog, and the food cart, and this is just a spread. Day and night, shadow and light, groups comprising young and old people spending their times together are used as the depiction of the life feast. Even the young children are capable of grasping the notion that good positivity along with good deeds begets an increasing amount of the same.

Spier, P. (2014). We the People: The Constitution of the United States. Doubleday Books for    Young Readers.

Peter Spier’s We, the People, is a children’s literature that is recommended for children aged between 4 and 8 years. Devoid of the mawkishness and moralizing, Spier succeeds in depicting something that comprises the increasingly astonishing array of human life on Earth. The author highlights that humans come in several colors, and have divergent looking features, dress in distinct ways, enjoy diverse things, have various personalities, speak dissimilar languages and live in different types of homes, and that even as some people excel at things that are undoable to others, there are also various ways to earn a living than one may imagine. Nevertheless, the author also observes that devoid of the single exception, all humans begin quite small and that all have to die in the end. Even though the author does not use the expression “the brotherhood of man,” he has successfully managed to get through that in many vital ways, the human is all comparable, and the author simultaneously celebrates the human diversity. as such, this is noted when he opines that “Imagine how dreadfully dull this world of ours would be if everybody would look, think, eat, dress, and act the same.” Moreover, the does not exalt a specified way of life over the other even though he successfully fills the pages with the trademark detailed and action-packed colorful sketches, and this enables the author to provide the various examples their vital moments in the limelight. On the whole, the narrative is not just for young kids but additionally essential for the teenagers who are coping with the Herd Instinct too, and adults may also take pleasure in it for the beautiful artworks and tone.

Gray, N. (2001). A country far away. Scholastic Inc..

In the narrative, Nigel Gray has made use of minimal text, a maximum of two sentences per page, to relate the daily activities in an ordinary boy’s life. However, the depictions in the exceptional book make use of the words to two distinct boys, namely, the boy living in the developed European city and the boy living in the remote African village. The pages are divided horizontally by the texts with the illustrations made below and above the text disclosing two distinct versions of the narrative through a sequence of vignettes that are boxed, which may also be considered as the wonderful and appealing specialty of Dupasquier. Through the texts and illustrations, the reader is able to observe both the differences and similarities in the lifestyles of the two boys. Thus, the increased number of humorous aspects propose the human experience’s universality. For instance, the statement that “My cousin came to visit and we stayed up late” has been depicted through the use pictures both above and below, and through which the reader is able to observed two sets of family reunions. For instance, within the African village context, the relatives who are using the canoe are embraced by the family members. Everybody also sits outside during the pleasant tropical night so as to listen to various narrations around the campfire, whereas the cousins prefer sitting by the moonlit river’s edge. In the meantime, the depictions below the same text also indicated relatives who are arriving by car, and are welcomed by the family members. While everybody is sitting around the television, the two cousins are seen using the flashlight to develop shadow figures on the walls of the bedroom. The life of every boy, along with the small occurrences including going to shop in town, as well as the momentous occasions such as the sister’s birth is observed within the caring family that also form a key unit of the community.  The lively styles of Dupasquier’s makes use of the comic strip conventions that include the segmented drawings implying the plot’s progression and action, and also enables it to attain the actual characterization along with the depth of narrative. Exceptional amongst the picture narratives category, A Country Far Away has successfully avoided didacticism even as it delightedly celebrates the human cultures’ kinship and children throughout the globe.

Brooks, B. (2018). Stories for Boys Who Dare to be Different. London: Quercus.

Boys can be anything they might desire to be. As a result, Brooks’ timely narrative has joined and expanded the conversation on gender-role and offers the middle-grade boys an embracing alternative message: masculinity may imply many things. In the book, one will not find narratives related to the saving of princesses or even killing of the dragon. However, the author has made use of striking full-color depictions to offer the compelling welcoming alternative narrative that is seen to celebrate not only the innovators and introverts but also resilience and sensitivity, as well as expression and individuality. The book comprises of 75 exceptional narratives of both famous and not-known men from the past to present times, with each being either a stereotype smasher or a rule breaker on his way. Some of the narratives include those of Salvador Dali, Frank Ocean, Barrack Obama, Beethoven and Jesse Owens amongst others. Through the various narrations, Brooks mainly encourage the readers to dare dream big and realize their dreams.

Mayer, M. (2004). Baba Yaga and Vasilisa the Brave. Harper Collins.

Marianna Mayer’s Baba Yaga and Vasilisa the Brave is an increasingly engaging text as well as skillful paintings that have effectively set apart the version from the other new group of narratives that seek to retell the popular Russian variation of the Cinderella story. Thus, following her father’s death, Vasilisa’s stepsisters and stepmother mistreats her, and as a result, she only gets comfort in the magical doll that her late mother had made for her mother before her death. Vasilisa becomes the witch’s servant while she was sent Baba Yaga’s house to fetch a light, and, as a result, is given a sequence of tasks that are unattainable. Using her magical doll’s assistance, Vasilisa can please the hag who then gives her the light and sends her home. After the destruction of her stepsisters and stepmother, Vasilisa decides to live with the senior woman who teaches her how to weave and spin. Vasilisa creates attractive clothing that also attracts the tsar’s attention and seeks out the maker. He succeeds in finding the heroine and even asks her to marry him. The authority and wonders of the narrative have been brought out by the author’s graceful prose. Moreover, the craft’s illustrations also complement the text as they have been done using a mixture of oils, gouache, and watercolors. The red palette alongside the gold that is set against the darker background bears a resemblance to the Russian folk-art paintings that are made on the black-lacquered wood. Through the dark pictures, Baba Yaga is depicted, and the illustrations are not for individuals who are weak-hearted. The employment of the various ornamental capital letters along with the stylish typeface, in addition to the smaller drolleries, contribute to every page’s visual appeal.

Anderson, C., & Bolden, T. (2018). We Are Not Yet Equal: Understanding Our Racial Divide.             Bloomsbury Publishing USA.

Through her narrative, Carol Anderson has been able to bring her ideas and perceptions on the issues of race and racial inequalities to her younger audiences. In achieving the progress milestones towards equal and full black democratic participation, the systemic reaction tends to entail constant racist backlash that derails such accomplishments. Through We Are Not Yet Equal the author assesses five such moments, namely; the conclusion of the Civil War and the Reconstruction period that were greeted with the Jim Crow laws; the assurance of novel opportunities for African American in the North in the course of the Great Migration that was also restricted as  African Americans were physically restrained from migrating from the South; the landmark Supreme Court ruling in the  Brown v. Board of Education 1954 case was also met with the shutdown of all public schools in the South; the 1964 Civil Rights Act along with the 1965 Voting Rights Act of 1965 resulted in various laws aimed at disenfranchising the African American voters besides the War on Drugs, which was mainly targeted at African Americans, as well as the election of President Obama, which resulted in a violence outburst that included the killing of Michael Brown in Ferguson, Missouri, and President Trump’s election. The adaptations of the narrative have been written in a narrative style that is approachable and seeks to offer the teen readers the additional contexts for the historic moments, archival images and photographs, as well as the essential resources for the young readers.

Kuklin, S. (2002). How my family lives in America. Bradbury Press.

The narrative offers an essential insight into the manner in which the three different families tend to impart the ethnic identity sense into their young family members, children. Sanu is five years old, and her father is an immigrant from Senegal. On the other hand, her mother is from Baltimore. Sanu along with her father purchase foods that they will use in the preparation of the traditional Senegalese dish that he will be tasked with preparing and sharing with their relations. Consequently, both Eric and his mother are New York natives who were also born in New York City, even though the father is a native of Puerto Rico. As a result of the relatives who gather in their house, the family prefers to perform the merengue dance. Still, the parents of April are both Taiwanese immigrants who were born and raised in Taiwan. Every Saturday, April and her siblings visit the nearby Chinese school with the objective of learning calligraphy. Nevertheless, the three families that the author discusses in the narrative belong to the middle class and live in the urban setting. The three children also have a caring and susceptible parent, and two of the children also have extended familial ties. Though the author fails to discuss the issue of religion in the narrative, there are faint hints of Christianity backgrounds in two families. The first-person narration of every child tends to be simple and straightforward, and are also laced with many humorous touches. As such this has the effect of making one hear them speak nearly. Further, the colorful images have been aptly composed and are also serviceable. The book is vital given that it meets the observed growth in demand for literature portraying multicultural heritages.

Munsch, R. N., Martchenko, M., & Dann, S. (2010). The paper bag princess. Toronto:            Annick Press.

Elizabeth, a beautiful princess, lives in a castle and wears fancy clothes. When she is about to marry Prince Ronald, a dragon smashes her castle, burns her clothes with his fiery breath, and prince-naps her dear Ronald. Undaunted and presumably unclad, she dons a large paper bag and sets off to find the dragon and her cherished prince. Once she’s tracked down the rascally reptile, she flatters him into performing all sorts of dragons stunts that eventually exhaust him, allowing her to rescue Prince Ronald.  But what does Prince Not-So-Charming say when he sees her?  “You smell like ashes, your hair is all tangled, and you are wearing a dirty old paper bag. Come back when you are dressed like a real princess.”  (At least he has the courtesy not to mention that the princess’s crown resembles a dying sea anemone.) In any case, let’s say that Princess Elizabeth and Prince Ronald do not, under any circumstances, live happily ever after. Canadian author Robert Munsch celebrates feisty females everywhere with this popular favorite, and Michael Martchenko’s scratchy, comical, pen-and-ink drawings capture the tongue-in-cheek quality of this read-aloud crowd pleaser.

Andersen, H. C., Mitchell, S., & Ibatoulline, B. (2006). The nightingale. Candlewick Press.

Hans Christian Anderson has retold of the Andersen’s classic narrative that has been set in Morocco as opposed to original China, thereby motivating the score of lavish images and the fresh, tart tale. The story of the king who learns about self-effacement from the kitchen girl as well as the “little, plain, simple” bird is seen unfolding with some level of familiar grace.  The author has succeeded in incorporating such distinctive details as the old-fashioned Moroccan fare (“pastries made using almond milk and honey, and mint tea) into the perfect prose. Moreover, he additionally succeeds in making a  number of concessions to the younger readers, For instance, the author observes that, upon the mechanical breakdown of  nightingale’s rival, the emperor ultimately seek “the Great Fixer-of-All-Things” (as opposed to Andersen’s watchmaker), and at the time the king suddenly slips into decline, the author introduces death as the “Old Man Death.” Also, the author has filled the watercolors that he uses, and that are rendered using lines as fluid and loose as the beautiful garments of the characters, with exotic touches that are comparable to the palm trees, pet monkey and camels, over and above evoking the nation’s elegantly decorative architecture besides the ethnically varied inhabitants.

Umberto E. & Eugenio C. (2011). The three astronauts. Harcourt Brace Jovanovich.

The collage artwork present by Umberto Eco and Eugenio Carmi is amiable, even as the text gets the fable of universality. Nevertheless Eco does not indulge in the mawkishness while tackling the grave subject matter regarding the human intolerance in addition to the necessity for global awareness. Thus, the young readers are prone to take pleasure in reading the book even though the illustrations may not be adequately glitzy for the present day’s market; however, their simplicity improves the writing’s mythic quality. Still/, it can be noted that one of the key disappointment in the literary work regards the symbolic illustrations that have been employed in the depiction of the three astronauts. A number of the readers will anticipate seeing the astronauts being portrayed as individuals. However, the representation of the astronauts takes the form of three paper pieces, and the chewing gum paper piece mainly represents the American, and the Chinese and Russian astronauts are represented by the paper pieces with Chinese and Russian scripts respectively. Even though an individual might observe some form of merit in the idea, it is likely to be very challenging for a child to fully comprehend the concept as it requires a higher level of comprehension that might be beyond them..

Brothers Grimm. (2018). Snow-White and Rose-Red. Seattle, Washington: CreateSpace Independent Publishing Platform.

            In the narrative, The Brothers Grimm has succeeded in offering all essential detail of the complicatedly exemplified story that also appears to eulogize the purity and beauty’s triumph, as have been marked by the beautiful and fragile rose. The book has been adorned on both the inside and outside using several floral garlands, in addition to the heart-looking rosette wreaths that are used in the framing of every page number. Frolicking delightfully through the flora, the sisters who are increasingly eponymous portray some level of cherubic innocence with their plump cheeks alongside rounded bodies that are inundated in soft glows. On the contrary, the sorrowful bear tends to embody the untamed shagginess, and also evoke the ursine portraits from Spirin’s story, “Once There Was a Tree.” In comparison to the earlier fiction narratives interpretations of the artist, the excellently executed paintings have been used in the improvement of the narrative’s grandeur; sometimes, nevertheless, the effect is somewhat weakened through the frozen china-doll expressions of the characters. Such a lasting narrative seek to differentiate the personalities of the two girls even though it succeeds in doing this without making any judgment. The beautiful design of the book also adds to its allure given that the arts and texts have been outlined in arch-shaped and ruled borders, even as the colorations have also been employed in depicting the medieval tapestries.

Rosenthal, A. K. (2008). It’s Not Fair! . New York City, New York: HarperCollins.

The author presents an increasingly sensitive and humorous perception of the injustices of life. On every spread, the various young characters are given opportunities to express their frustrations. As such this can be observed the young characters question why they are given the smaller half, why they suffer from chickenpox. However, it is worth noting that not all the characters in the narrative are children. For instance, the three-legged stool is seen wondering why the chairs belonging to the neighbors have an extra leg, and in a much cleverly written conclusion, the book is also seen to wonder why the narrative has to come to an end. The singsong rhythm along with the rhyming texts contribute immensely to the complaints’ litany, even as the increasingly colorful and cartoon-styled images have been used in the expressive conveyance of the emotions of the various characters ranging from envy to wistfulness and disappointment. A limited number of moments in the narrative are likely to resonate with adult readers as can be observed in the narrative’s endpapers that also resemble the legal records that outline the lawsuit between brothers over a biscuit that was not divided as was initially assured. Further, it is highly prone that the children readers are likely to welcome the farcical and familiar scenarios, along with the lack of sentiments that are saccharine.  Through the literature, the author seeks to teach children the values of empathy. Thus, the narrative can be perceived as the best choice for commencing discussions on perspective and empathy gave the reassurance it offers to children with regards to the experience of unfairness by all humans.

Lanning, R. (2002). Where Have You Gone, Davy? New York City, New York: North-         South Books.

Upon the breaking of the China bowl belonging to Mother Rabbit, the blame is directed at young Davy. Unjustly accused, Davy decides to run away and promises never to come back until he is grown and strong. Regardless of Davy’s wish to be courageous brave, the owl frightens him. Davy’s family finds him, and his elder brother is seen apologizing as he was the one who had broken the bowl, and all that ends up being forgiven. The dramatic pencil and watercolor illustrations tend to attain success in evoking the feeling of being misunderstood and young. Further, the double-page illustration of the gigantic owl flying above also highlights the helplessness of Davy. The justly foreseeable but encouraging narration is mainly resolved through the themes of forgiveness and truth. Also, the book’s big size and the increasingly engaging makes it an appealing book that children can read and also share.

Eliot, H. (2018). The Little Mermaid. New York City, New York: Simon and Schuster.

Though Hans Christian Andersen’s fictional story board-book is set within the Caribbean islands, the adaptation of Eliot has successfully done away with a number of the increasingly disturbing aspects of the plot that was in the original narration. This, therefore, makes it feel very close to the Disney adaptation even though it has characters who are brown-skinned and merfolk. Upon being given feet, the Little Mermaid feels likes she is stepping and walking on glass and is also demotivated by the increased desire for the immortal soul. However, as the heroine of the narrative, she sacrifices not only her voice but also her agency and family for the princess who is somehow clueless. The Caribbean context offers a better setting for the narrative given that the sea has been featured prominently in the narrative. The lush illustrations also depict the author’s Puerto Rican heritage. Moreover, aspects of the sea witch that include the red lips, the pointed nose, colorful head-wrap, and hoop earrings are also reminders of the vejigante masks that tend to be essential aspects of the Puerto Rican carnival. Similar to the other literary works of the author, the bigger picture book format aids the narrative in finding open audiences comprising children capable of critiquing the subtexts of the classical narrative while also appreciating the stunning original art.

McClafferty, C. K. (2018). BURIED LIVES: THE ENSLAVED PEOPLE OF GEORGE                 WASHINGTON’S MOUNT VERNON. New York City: Holiday House.

In the narrative, McClafferty presents a large book focusing on the slaves’ lives, particularly those who lived and were employed by George Washington in Mount Vernon. A larger proportion of the narrative has been dedicated to recounting the lives of approximately six of the several hundreds of slaves who were initially the property of George Washington, America’s first president. These include Christopher Sheels, William Lee, Ona Maria Judge, Hercules, Peter Hardiman, and Caroline Branham. The six slaves are considered as larger than life figures given that their narrations tell more and deep narratives with regards to America’s history, as well as the daily evil horrors about slavery. Despite having been enslaved, the six individuals have been acknowledged for serving America at some of the nation’s lowest moments including partaking in the revolutionary war, safeguarding George Washington’s records and taking care of his person during the movement of the continental army at the time of combat. The narrative has also taken in the photos of the various re-enactors who were at Mount Vernon in addition to various artifacts and numerous archival reproductions that were found at Mount Vernon. Much of what is acknowledged concerning the slaves was written by George Washington, as observed by the author in the introduction. Concerning what has been acknowledged about the slaves’ lives, the author has taken liberty by making various inferences on both their histories and motives. For example, by speculating the reasons behind Lee’s failure to escape and be free when he had the chance to join the British Army, the author fails to discuss the various penalties that the slaves who had escaped and were later captured were charged with, and, therefore, presents Lee’s choice as a more binary one; either staying with Washington or going with the British army. Still, the author also proposes that Judge’s Caucasian father who was also an indentured slave, might have fallen in love with his enslaved black mother, and fails to highlight the fact that the slave women were not allowed to resist any white man’s sexual advances. Such instances along with other notable elisions tend to make the narrative one objectifying the subjects. Even though, shedding light on Georg Washington as a slave owner is much welcomed, the enslaved persons’ voices are still unheard.

McLellan, S. S. (2017). THE CHRISTMAS WIND. Markham, Canada: Red Deer Press.

During the Christmas Eve, Jo together with Christopher, her baby brother, are all out in the freezing elements along with their mother, who is sick and exhausted. The narrative commences with a family that seems to run from something, and through a prevailing wind that is seen to elbow the mother beside kicking her to the ground. By crossing the field during the cold, Jo is at risk of encountering old Franklin Murdock, who is also a widower known to be very mean as from the time he lost his child and wife. Jo, therefore, leaves behind her mother to take rest even as she lays the baby in a manger that she finds in the barn. She later returns to pick her mother and realizes that her baby has been stolen from the manger as it is empty. As a result, Jo decides to storm Murdock’s home with a shovel and courageously blames him for stealing her baby. However, Murdock reacts by welcoming them into the house and also takes care of them by offering them the wood stove. Upon Christmas, Jo develops a novel appreciation for the simple human kindness, even as the farmer’s lonely home gets cracked open by the homeless family’s arrival. The pencil drawings and the soft watercolor washes in the muted tones usually accentuate the author’s words by offering infrequent visual perspectives. The stage is set by the opening image depicting a scarf being blown away onto the ground, and this marks the beginning of the lovely and thinly oblique retelling of the adaptation of the Bible story.

Kinney, J. (2012). Diary of a Wimpy Kid. New York, United States: ABRAMS.

The subject matter in Kinney’s Diary of a Wimpy Kid is increasingly pertinent to children readers. Though many sections tend to be extremely funny, one can relate better with the themes of love and hate relations that exist amongst siblings. The level of honesty in the narrative is inspiring and is prone to make the readers gain comparable insights in their individual lives. Kinney has, however, taken on a format that might take the learner some time to acquaint with even though the story can be read faster and more comfortable. Moreover, the format also comprises mini cartoons that are illustration all through the book. Such cartoons tend to contribute immensely to the narrative’s humor. Consequently, the narrative’s character development is also consistent with the manner in which the middle child always feel. Greg, the critical characteristics of the narrative, tackles numerous hurdles that come his way more humorously and nearly appears as a hero. Though the novel appears funny and may lead to the reader laughing all through the chapters, the novel tends to be educative and appealing to young readers as they can effectively relate to Greg’s character and the various embarrassing moments that young readers experience at home and in school.

Young Adults Literature

Shan, D. (2013). A Living Nightmare. Columbus, Georgia: Little, Brown Books for Young   Readers.

Darren’s “A Living Nightmare” is a narrative that is mainly narrated in the first person, with regards to the boy attending the show, traveling freak, and this alters his life forever. The plot contains many twists and turns that are meant to keep the young adult readers continuously guessing what will occur next. Darren and Steve, who are the principal characters in the narrative are aptly developed, and this offers the reader the sense of the various positive and negative attributes of Darren and Steve respectively. The imagination of the rift that is in the process of development between Darren and Steve is not difficult. This is because the contexts are aptly imagined even as the descriptions of different acts in the show are not only gross but also mesmerizing. The narrative is prone to be of immense interest to young adult readers due to aspects such as the characters’ ages, the development of apt fears, and the increased array of interesting characters.

Burgan, M. (2013). Frankenstein. Mankato, Minnesota: Capstone.

The classical, Frankenstein, originally by Mary Shelley is expertly retold by Michael Burgan, who also offers an increasingly scary depiction of the story. The development of the plot commenced faster with the novel, and this resulted in the reader being immersed in the narrative of appalling horror. The narrative’s format is also consistent with its genre as it includes the utilization of Halloween type font with regards to the Table of Contents. The manner in which the introduction of the characters occurs is also thought-provoking. As opposed to getting introduced during the progression of the plot, Dr. Frankenstein is shown in pages four and five as being young and old respectively. This makes it easy for young adult readers to remain on track with regards to the development of the characters. Further, the plot commences with Dr. Frankenstein’s rescue from the boat in the ocean. The captain of the ship tends to questions Dr. Frankenstein who goes on to recount the whole horror story. Though the monster had acted humanly, it commenced killing innocent persons after being mistreated by people around him. The artwork has been used effectively as it enables the readers to observe how Frankenstein’s humanity slips away. The novel is vital to read for young adults as it serves to reinforce various virtues and values including the virtues of trust and honesty.

Myers, W. D. (2013). Monster. Detroit, USA: Prestwick House, Incorporated.

The style used in the writing of the novel and its script is representative of the trial and the first person narration of the manner in which Steve felt in the time which was artistic. The context description is likely to lead to individuals pausing and thinking before claiming that given individuals are acquaintances. In the novel, Meyers has done an excellent job with regards to the painting of the contemporary day nightmare that younger adults may learn from before getting into situations that one might find increasingly challenging to exit. The reader is not sure of either the innocence or guiltiness of the main character, Steve, and as a result, commences questioning the extent of the guilt or innocence. Steve, on the other hand, commences claiming his innocence; however, as the plot thickens, he starts questioning his innocence as claimed or whether he is the monster depicted by the prosecutor. The development of the character is also increasingly interesting given that the reader is given the sense to see what the defense and prosecution attorneys perceive when they look at Steve is nothing but a criminal devoid of merit within his society. Regardless of the testimony of Steve’s teacher, the attorneys are stuck on the image they developed concerning Steve and the crime he is alleged to have committed. The novel is recommended for the young adult readers as they are likely to find the courtroom banter very interesting, and are also prone to question the legal system’s fairness. Moreover, the responsibility theme comes out stronger in the narrative and might aid the young adult readers in questioning their values too. Though most young adults might not relate to the urban context, they are prone to relate to the having of characters that are unsavory as an acquaintance and the manner in which the situation may be worsened in case apt choices are not made.

Gantos, J. (2012). Hole in My Life. New York, New York: Farrar, Straus, and Giroux          (BYR).

Through Hole in My Life might not be considered an apt read for young adult readers, the various themes covered including the themes on intoxication and drugs, are likely to appeal to the older young adults. The story’s plot is also increasingly predictable. The author, Jack Gantos, who also doubles up as the main character commences the destruction cycle that makes the reader desire cautioning him. Jack fails to be accountable for his actions and starts a partying life. As a result of the partying, he makes friends with many shady persons. Though Jack acknowledges the need to ditch such shady persons, he ends up ignoring his conscience. The author has adequately described the contexts, mainly the boat ride that is meant to acquire drugs from the Caribbean. Hamilton, his partner, with whom they spend approximately six months on the boat is depicted in an increasingly humorous, realistic and paranoid manner. The last half of the story offers a description of Jack’s time in prison, and the author has brought out the sense of fear, anger, and helplessness that Jack experienced during the jail term. The narrative is apt for the young adult readers given that it offers firsthand experience of an individual who faced several challenges in finding his way, made wrong decisions and paid for the results of such decisions. The readers may also learn vital lessons from the mistakes and wrong decisions made by Gantos and, therefore, avert their individual lives from assuming the negative pates.

Pena, M. D. (2012). Mexican White boy. New York City, New York: Delacorte Press.

The Mexican White Boy refers to the narrative of the skinny and unconfident teenage who spends the summer holidays with his Mexican relatives in East Los Angeles. The author succeeds in the creation of an increasingly colorful depiction of Danny’s Mexican relatives. Though the uncles might be cool and fun loving in a given instance, they might also be scary in the next. The summertime setting in California was more pragmatic, and one might relate to successfully. Moreover, the author also succeeded in the integration of the rich Mexican cultures with the various sayings, traditions, and food into the story. The characters development in the family’s Los Angeles community, not only gets the reader laughing but also worried and scared for Danny simultaneously. Of great interest is the manner in which the author includes the mystery that prevails with regards to the reasons for imprisonment of Danny’s father. It, therefore, takes the reader some time to figure out the prison term as the reason behind the father’s missing and why Danny continually wrote to him. The mystery contributes to the depth of the plot, in a manner that is similar to Danny’s struggle with the various high-stress circumstances. The young adult readers are likely to enjoy the manner in which the author enables them to join in Danny’s development journey, as well as in the tying up of the various loose ends. The various themes covered in the narrative including the baseball theme and the manner in which younger athletes overcome both emotional and mental challenges of playing the sports offer vital lessons to the readers. Moreover, it also enables the readers to relate to the various occurrences that the author highlights in the narrative.