Tuesday, June 24, 2014

Printz Award Winner--The First Part Last by Angela Johnson

Printz Award Winner—The First Part Last by Angela Johnson.

Johnson, Angela. (2003). The First Part Last. New York, NY: Simon Pulse.

Angela Johnson’s book, The First Part Last is the story of Bobby, a typical 16 year old from New York City. He likes to go to parties, hang out with friends, go to the movies, eat pizza and spend time with his girlfriend Nina. Then on the eve of his birthday party, Nina is waiting for him to tell him his going to be a father. This news turn Bobby’s world upside down. Now instead of hanging out with his buddies he’s running across town trying to satisfy Nina’s cravings, going to gynecological appointments with Nina, and meeting with social workers to figure out the right thing” to do with this baby. Then something unexpected happens and Bobby is once again forced to grow up.

 The First Part Last is part of the “Heaven” trilogy series. It is actually the second book in the series. Bobby the main character was written as a secondary character in the novel Heaven until author, Angela Johnson, decided to make him the protagonist of The First Part Last (Carin, 2009, p.25). Finally, the trilogy of Heaven concludes with the last book Sweet, Hereafter.

 In 2004 First Part Last was awarded the prestigious Printz Award for exemplifying literary excellence in young adult literature (YALSA, 2012). That same year Angela Johnson was the winner of the Coretta Scott King Author Award. (ALA, 2014)

The story is told in the present and in the past. It is organized in four parts and each part includes very small sections where the narrator informs the reader where he is currently in his life (now) and where he was in the past (then). The entire story is told this way until part four where somewhere in the middle there’s a section titled “Nia” and at the end of the story there’s another one titled “heaven”. The way the story is structured helps to demonstrate the struggles that Bobby, the main character, is presently facing and at the same time shows the reader when and how he got to his present circumstances. Lastly in the final chapter, the past and the present come together weaving the story together.

The narrator is the main character Bobby, a sixteen year old teen that is currently living in New York with his mother, Mary. Through Bobby’s eyes the reader experiences his fears “ and that sweet new baby smell… the smell of baby shampoo, formula, and my mom’s perfume. It made me cry like I hadn’t since I was a little kid. It scared the hell of out of me” (Johnson, 2003, p.4). and  the joys of being a young inexperienced father, “she came to me so slowly I felt I was in a dream…Then she was all dark hair, hand in fists, Nia’s nose and mouth. She came to me so slow, and it was just like somebody brushed the air with a feather” (Johnson, 2003, p.124).

It is sad and moving to see the internal conflict within Bobby as he wants to be the father to his baby when he himself is still a kid. After he has had a long night with the baby and he’s achy and tired of being up all night he “wants nothing else but to run crying into my own mom’s room and have her do the whole thing” but he know it’s not going to happen and so his “heart aches” as he straightens out the little baby’s hand. He continues and says, “And all I can do is kiss them and pull her closer so she won’t see my face and how scared I am” (Johnson, 2003, p. 15).

Then the internal struggle continues as he and Nina need to make the decision about what to do with the baby. His friends want to know if he is going to keep the baby and when they ask he gets defensive about it, “It’s a stupid fucking question, K”(Johnson, 2003, p.11). At another time Bobby and his friends are at the park and his friend K-boy asks him if Nina is keeping the baby or not, Bobby becomes physically ill, “My stomach is hurting by the time that question is out of his mouth and into the air. I don’t say; it’s not up to me. I don’t say; whatever I want, I can’t say” (Johnson, 2003, p. 32).

The theme of becoming a man is also seen in the story. Bobby mentions an old man named “Just Frank” who used to hang around the corner and would always ask him if he “was being a man”. Bobby’s would just laugh at him because he didn’t consider Frank much of a man since he was always “hangin’ on the corner, drinking forties a ten in the morning” (Johnson, 2003, p.9) But after Frank gets killed trying to save a girl in the neighborhood, Bobby begins wondering if he “would be a man, a good man” for his little girl (Johnson, 2003, p. 9). This brief scene shows us Bobby’s consideration to either stay a boy or become the man his baby needs him to be. In another chapter he gives us the rules of parenting once again telling himself that he must be a man. If the baby cries or if she needs to be changed, “In the dictionary next to “sitter” there’s not a picture of Grandma. It’s time to grow up. Too late, you’re out of time. Be a grown-up” (Johnson, 2003, p.14). At the end of the story when he is at the hospital he thinks he sees “Just Frank” he knows he’s “being a man”(Johnson, 2003, p.95).

 According to Hazel Rochman from Booklist, “Johnson makes poetry with the simplest words in short spare sentences that teens will read again and again” (2003, p.122). Johnson’s lyrical style is found throughout the story as Bobby expresses his innermost feelings and emotions that are filled with images of his beautiful baby girl, Nina and the hard reality of becoming a father at the age of 16. “I’ve been thinking about it. Everything. And when Feather opens her eyes and looks up at me, I already know there’s change. But I figure if the world were really right, humans would live life backward and do the first part last” (Johnson, 2003, p.7) The short like poetic sentences in the story allow this story to be a quick read in one sitting.

I thoroughly enjoyed reading The First Part Last. It was such beautiful and emotional ride to see Bobby’s character develop from being a young boy to being a man. I liked this story because it is also told from the young man’s point of view, and not from a girls like it’s typically seen in many stories. This book is recommended for grades 6-12 (Rochman, 2003, p.122). I think it would make a good read for parents and teens to discuss difficult questions and decisions such as the ones that Bobby has to make in the story.

 
References
 

American Library Association. (2014). Coretta Scott King Book Award Recipients.


Hinton, Kaavonia M. (2006). Angela Johnson: Award-Winning Novels and the Search for Self.

The Alan Review, 34(1), 63-65. Retrieved from


Johnson, Angela. (2003). The First Part Last. New York: NY. Simon Pulse.

Roback, Diane. (2003). The First Part Last (book). Publishers Weekly, 250(24), 73.

Rochman, Hazel. (2003). The First Part Last (book). Booklist, 100(1), 122.

Young Adult Library Services Association. (2012). The Michael L. Printz Award for Excellence

in Young Adult Literature. Retrieved


 

 

Tuesday, June 17, 2014

Forever... By Judy Blume

Fiction—Forever… by Judy Blume Blume, Judy. (2012).

Forever…New York, NY: Antheneum books for Young Readers.

Katherine and Michael are high school seniors who happen to meet at a New Year’s Party and have an instant connection. They are quickly enamored and can’t get enough of each other. The relationship moves quickly as Katherine prepares herself mentally to lose her virginity to Michael, the love of her life. They are both so in love and want to be with each other every minute or forever. Then something unexpected happens, Katherine and Michael end up having summer jobs in different states. After being away from each other for about a month, Katherine begins to question the meaning of to love forever.

Forever… first published in 1975 was written as a request to Blume’s daughter who asked for a story about two teens who have sex without either of them being punished with an unplanned pregnancy, a grim abortion or death as many of these things happened in the novels she read about teenagers in love. Blume (2013) goes on to explain that, “girls in these books had no sexual feelings and boys had no feelings other than sexual. Neither took responsibility for their actions” (p.7). In Forever, she wanted to “present another kind of story—one in which two seniors in high school fall in love, decide together to have sex, and act responsibly” (Blume, 2013, p.7).

Blume successfully accomplishes this by showing us throughout the novel how Katherine slowly gets herself mentally ready to fully commit to having sex with Michael. At the beginning of the story when Michael tries to get under Katherine’s sweater she says “No…lets save something for tomorrow. He didn’t pressure me” (Blume, 2013, p.22) But as time passes, they continually take it up a level. Once again when they are together, Michael tells Katherine that she is ready to go all the way, but Katherine is not ready as she says, “A person has to think… a person has to be sure…I have to control my body with my mind” (Blume, 2013, p.43). On the day that Katherine loses her virginity she asks Michael if he has something for protection because she doesn’t want to get pregnant and Michael replies, “I’ve got a rubber in my wallet…” (Blume, 2013, p. 133) And as Katherine reflects on her first sexual experience she cannot image what the first time would have been had she been with someone she did not love.

Blume (2013) does a fantastic job of weaving the theme of sexual responsibility explicitly throughout Forever. When Katherine asks her mother if she was a virgin when she got married her mother tells her that, “sex is a commitment…once you’re there you can’t go back to holding hands…And when you give yourself both mentally and physically …well, your completely vulnerable… I expect you to handle it with a sense of responsibility…” (107-108). The theme of sexual responsibility is also seen when Katherine’s grandmother sends her a package in the mail filled with “pamphlets from Planned Parenthood on birth control, abortion and venereal disease” (Blume 2013, P.150) and the next day Katherine calls Planned Parenthood of New York city because she’d “like some information about birth control...” (Blume, 2013, p.153)

In Forever, Blume “sought to counteract didactic writings in the 1970s that addressed adolescent love absent of sexual feelings and desire” (Kurtz, 2011, p.229). Katherine’s character clearly demonstrates her sexual feelings towards Michael whenever she is thinking about him, “I thought about making love with him—the whole thing…Would I make noises like my mother? ... What would it be like to be in bed with Michael?” (Blume, 2013, 70). Once she is with him she says, “Once I got over being scared I let my hands go everywhere. I wanted to feel every part of him” (Blume, 2013, p.100).

Blume creates a dynamic character in Katherine as we see her evolve from a sexually inexperienced girl, “What should I do?...Can you spread your legs some more…I felt a big thrust, followed by a quick sharp pain that made me suck in my breath…but I didn’t come” (Blume, 2013, p.136) to a sexually confident young lady, “I kissed his ears, running my tongue around the edges. I used my hands on his body while I worked my way down…I straddled him, helping Ralph find the right angle, and when he was inside me I moved slowly—up, down, and around…until I couldn’t control myself anymore…And then I came before he did. I came before he did…I came again, not caring about anything—any—thing but how good it felt” (Blume, 2013, 217-218).

In addition Katherine’s sexual evolution, Blume displays her change in maturity level from the time her mother gave her the article from the Times about Sexual Liberation. The article asked teens four questions about sexual intercourse, questions three and four asked, once you have sex “if you should need help, where will you seek it? And have you thought about how this relationship will end? Katherine’s initial response to these questions is that question three did not interest her at all so she skipped to four which upset her (Blume, 2013, 142-143). On the other hand, Katherine’s decision to go to Planned Parenthood to get the pill shows her characters responsibility and maturity. In another scene when Michael and Katherine are arguing question number four pops into Katherine’s mind, making her reflect “about how this relationship will end?” (Blume, 2013, p. 255).

Even though “when Forever was first published it was highly censored because of its explicit sexual scenes between Michael and Katherine” (Kurtz, 2011, p. 229), I feel that it’s a must read for parents and teens. The book is written in vernacular form for teens focusing on the experience of the first sexual encounter, sexual responsibility themes, and a well development female character. It is a good discussion starter for parents and teens about very sensitive topics. The book is recommended for teens 13 and older, but my suggestion would be for 16 or older depending on the maturity level of teens.

                                                              References

Blume, Judy. (2012) Forever… New York, NY: Antheneum Books for Young Readers.

iBooks. (2013). iBooks (version 3.2) [Mobile application software]. Retrieved from                             

     http://itunes.apple.com

Kurtz, J., & Schuelke, N. (2011) Blume, Burges, and Beyond. Voice of Youth Advocates, 34(3),228-

     230. Retrieved from http://ezproxy.twu.edu:2225/ehost/pdfviewer/pdfviewer?sid=1b4dcfab-1304-

     413a-beed-04b068f5532e%40sessionmgr113&vid=54&hid=124

Lesesne, Teri S. (2002). Book Talk: Meeting the Standards: Criteria for Great YA Literature. 10(1),

     66-69. Retrieved from

    http://ezproxy.twu.edu:2400/library/NCTEFiles/Resources/Journals/VM/0101sept02/VM0101Book.pdf

Nilsen, A. P., Blasingamge, J., Donelson, K. L., & Nilsen, D. L.(2013). Literature for Today's Young

     Adults (9th ed.). Boston : Pearson.

Sullivan, E. (204). Going All the Way: First-Time Sexual Experiences of Teens in Fiction. Voice of

     Youth Advocates, 26(6), 461-463. Retrieved from

     http://ezproxy.twu.edu:2225/ehost/pdfviewer/pdfviewer?vid=52&sid=1b4dcfab- 1304-413a-beed-

     04b068f5532e%40sessionmgr113&hid=124

Tuesday, June 10, 2014

A Day No Pigs Would Die by Richard Peck


Autobiographical Fiction--A Day No Pigs Would Die by Richard Peck

1. Peck, Richard. (1994). A Day No Pigs Would Die.  New York: Laurel-Leaf.

2. Plot Summary. A Day No Pigs Would Die is told through the eyes of young Robert Peck, the son of a Shaker farmer and pig slaughterer who live off the land. In the beginning of the story Robert helps his neighbor’s cow give birth and in return receives a sow that becomes his much-loved pet name Pinky. Later in the story we find out that the pig is barren and Rob must help his father slaughter the pig due to Pinky’s lack of contribution to the family’s needs. Through this difficult experience Robert begins to understand what it means to be a man. In the end, Robert’s father ends up dying slowly and at the age of 13 Robert assumes the responsibility of the family farm.

3. Critical Analysis. A day no pigs would die is written in first person and everything we see and hear is through the main character Robert Peck. From the beginning of the story the reader is hooked with Robert skipping school, “I should have been in school that April day” (P.8) because he has had enough of other boys making fun of him at school because he’s different, “I’d teach him to make fun of Shaker ways.” (P.8)  

From the very beginning we see the themes of life and new beginnings. In chapter 1 we see the birthing of Apron’s calf with Robert’s help, “after a few bad tries, I got one pant leg around her calf’s head and knotted it snug.” (P.9) Then throughout the story we see the birthing of Miss Sarah’s litter, “No matter how many times a barn cat has her kits, it’s a wondrous thing to see”(P.39), and the beginnings of spring, “Most of the land lay open to sun; and it was soft and brown, ready to be mated with seed.”(P.34) Here we also see the beginning of the relationship between Pinky, the pig that Rob received for helping birth Mr. Tanner’s calf, “You mean--this pig is going to be mine?, Yours, my boy. Little enough for what you did.”(P.20)

This new beginning also symbolizes the beginning of Robert’s slow transition from a young ignorant boy to a much wiser, and responsible young man. At the beginning of the story where we see the young character’s ignorance when he puts his arm inside the cow’s mouth trying to help her breath, “somebody told me once that a cow won’t bite. That somebody is as wrong as sin on Sunday…she bit and bit and never let go.” (P.11) Later on when Rob’s father, Haven Peck is asking Rob about how he tended to the apple trees in the orchard, Rob realizes the reason they didn’t produce a good crop was because Rob didn’t treat the trees correctly, “I did it wrong. That’s why the spanners were so numbered.”(P.87)

As the story progresses and seasons change, so does Rob, based on the events that shape him in becoming a mature, young man. In chapter 11 his father catches a weasel and they bring Ira Long’s little terrier named Hussy to get her weaseled so that she’ll be able to track weasels and eventually kill them. Little Hussy is put a barrel along with the weasel. After the horrific sounds and bloody fight “the weasel was dead. Torn apart into small pieces of fur, bones and bloody meat…The dog was alive but not much more. One of her ears was tore off and she was wet with blood…One of her front paws was chewed up so bad, it wasn’t a paw anymore.”(P.82) So Rob insist that they kill the dog because she is suffering and so they do, “Papa put a bullet in her, and her whole body jerked to a quivering stillness.”(P.82) At the end of the chapter Rob buries Hussy, says a prayer and tells her, “you got more spunk in you than a lot of us menfolk got brains.”(P.83) showing his maturity evolving.

The climax of the story takes place on a dark and cold winter in December when Rob’s beloved Pinky must be put to death because, “She was bred and she was barren. And she ate too much to keep as a pet.”(P.100)  He’s father being a butcher, “stuck her throat deep and way back, moving the knife back through the neck toward him-self, cutting the main neck artery.”(P.102)  At this point Rob’s heart is broken and in a way killing Pinky is a rite of passage into manhood, when his father says, “That’s what being a man is all about, boy. It’s just doing what’s got to be done.” (Pg. 103) This event sets the stage for what is to come next which is the slow death of Robert’s father.

His father knows that he is dying and prepares rob by telling him, “Come spring, you aren’t the boy of the place. You’re the man. A man of thirteen. But no less a man. And whatever has to be done on this land, it’s got to be did by you, Rob.”(P.91) In the end of the story, Robert’s father passes away, representing Robert’s transition into manhood by him making the arrangements for his father’s burial, and taking over the farm and taking care of his mother and elderly aunt. Rob calmly, and maturely takes care of all the arrangements that need to be made to bury his father, “I told Mr. Wilcox, who was a good Shaker man and who took care of our dead.”(P.105)

I would agree and disagree with Newsweek that “every page is diffused with wit and charm and glowing warmth.” The first half of the story is filled with beautiful scenes from the four seasons and the author’s use of sensory detail makes the reader feel as if he were there in Learning Vermont. The humor is seen when Rob is told by his Aunt Matty that he needs a tutor because he got a D in English.  Rob begins to laugh because he thought he was going to get some unknown bad tasting remedy to fix him but instead he says “I sure knew what a “tooter” was. Jacob Henry had one. It’s real name was a cornet, and he played it in the school bad.”(P.43)

Unfortunately the second half of the novel is not so humorous and lively, if anything its graphic and cruel. In chapter 13, Mr. Tanner brings his boar named Samson to mate with Pinky to prove that she is not barren. Here the mating ritual is very graphic, “Pinky was squealing from his weight and the hurt of his forcing himself upon her.”(P.95) The killing of the weasel, the shooting of little Hussy, the slaughter of Pinky and the death of Robert’s father towards the end of the story add to the stories recurring events that represent death in the novel.

The novel is written in simple, colloquial language with phrases such as, “We’re beholding to you.” And “I ought to lick you proper.”(P.15) and “I don’t cotton to raise a fool.”(P. 15) this takes the reader right into the heart of the setting in Learning Vermont.  The story is also filled with many metaphors such as, “clean as a cat’s mouth”(P.13) that add to the richness of the language used by the characters.

If readers would like to find out what happens to the farm after Rob takes over they can find out by reading, A Part of the Sky, the sequel to, A Day No Pigs Would Die.

4. Comments from other reviews

v  “Reading this book is like sipping hot cider in front of a crackling potbellied stove. Every page is suffused with wit and charm and glowing with warmth.”- Newsweek

v   “You’ll find yourself caught up in the novel’s emotion from the very opening scene. . . . Love suffuses every page.”–The New York Times

v  "With plenty of Yankee common sense and dry wit, and some pathos as the boy at 13 takes on the duties of a man. For boys of this age and for the young of any age."--School Library Journal.

v  “A lovely book. . . . Honest, moving, homely in the warm and simple sense of the word. . . . It is small, accepting and loving and it succeeds perfectly.”–Boston Globe

 

Bibliography

Amazon. 5 June 2014.  <http://www.amazon.com/>.

Brownson, Ann. School Library Journal, Apr2011, Vol. 57 Issue 4, p64-64.

Spark Notes. 8 June 2014. < http://www.sparknotes.com/lit/adaynopigs/context.html >.

Peck, Richard. (1994). A Day No Pigs Would Die.  New York: Laurel-Leaf.