Feral Youth
Authors: Shaun David Hutchinson, Brandy Colbert, Suzanne Young, Tim Floreen, Justina Ireland, Alaya Dawn Johnson, Stephanie Kuehn, E.C. Myers, Marieke Nijkamp, Robin Talley
Published: September 5, 2017 by Simon Pulse
Guest Review by Natalia Sperry
Summary: At Zeppelin Bend, an outdoor education program designed to teach troubled youth the value of hard work, cooperation, and compassion, ten teens are left alone in the wild. The teens are a diverse group who come from all walks of life, and they were all sent to Zeppelin Bend as a last chance to get them to turn their lives around. They’ve just spent nearly two weeks learning to survive in the wilderness, and now their instructors have dropped them off eighteen miles from camp with no food, no water, and only their packs, and they’ll have to struggle to overcome their vast differences if they hope to survive. Inspired by The Canterbury Tales, Feral Youth features characters, each complex and damaged in their own ways, who are enticed to tell a story (or two) with the promise of a cash prize. The stories range from noir-inspired revenge tales to mythological stories of fierce heroines and angry gods. And while few of the stories are claimed to be based in truth, they ultimately reveal more about the teller than the truth ever could.
Review: This is a complex anthology of traditionally ignored teenaged voices that demand to be heard; I couldn’t put it down! Feral Youth is compelling from the front flap to the final page. The distinct voices of all 10 characters shone through in every part, from their individual stories to the transitional narration, creating an established sense of the full cast that is difficult to attain when juggling so many stories.
In this day and age, it feels more important than ever read book that remind us that all people, even those “troubled kids” traditionally written off by society, have a unique story to tell. Though I initially felt a bit overwhelmed by the number of characters (especially those with similar sounding names!) having such a diverse cast of characters share their stories was really rewarding. Those stories, both those intended to be “factual” and those grounded in fantasy, refuse to go quietly from my mind. In a story centered around teens whose voices have been all but silenced by society, I think that’s a victory.
Teacher’s Tool For Navigation: As the book was inspired by Chaucer’s Canterbury Tales, teachers could have students read the two (or passages from both) and compare and contrast. In particular, looking for thematic parallels could lend itself to discussions about the nature of storytelling and whose voices get told. In that regard, the book could also fit into a unit about “objective truth” in storytelling, perhaps in discussing other narratives or nonfiction.
Even in including the text as a free-reading option, I think it is essential to build empathy through reading diverse stories. Including this text could be not only a way to build empathy, but could provide a starting point for further future reading of a diversity voices as well.
Discussion Questions: What parallels do you find to the Canterbury Tales? Which stories surprised you? Were there any characters you related to that you wouldn’t have anticipated connecting with?
Flagged: “’They think we’re probably nothing but a bunch of animals, but we showed them who we really are. We showed them that they can’t ignore us’” (287).
Read This If You Loved: The Canterbury Tales by Chaucer, Les Miserables by Victor Hugo, other YA anthologies
“Combining History with Fantasy – Why and Three Hows”
To be an historian, you must be detail oriented. But writing fantasy is about creativity and imagination. So when I decided to use my Ph.D. in ancient Egyptian history to write a fantasy story for middle grade readers—a story that sends two South Side Chicago kids 3,000 years into the past—figuring out how to merge the historian with the storyteller was a painful task. It seemed so simple the day my son—then nine, now sixteen—first suggested I write a book about a kid who looked like him lost in time. It took many years, and a lot of false starts, but eventually I figure out a few ways to merge the historical details stuffed in my head with the imagination that fired up my heart.
The topsy-turvy journey was worth the effort. I wanted to share my passion for ancient Egypt with middle school aged kids, in part, because I think it’s important that today’s youth recognize that the practices, systems, and objects we enjoy today were inherited from across the globe, including from this impressive African culture. And my hunch was that some kids who wouldn’t read straight history would be open to fantasy drenched in mummies and giant scorpions and magician princesses.
Here are three things I did to make the history in Jagger Jones and the Mummy’s Ankh more fantastical…
1. Integrating the theme
The first breakthrough came when I integrated the history into my worldbuilding by selecting a theme that relates to both. Since it’s a three book series, I chose an ancient blessing that captures three themes worthy of exploration: ankh, wedja, seneb, which means (may you have) life, prosperity and health. Book one is about life (ankh), which brings us to our mummy—the princess Meketaten, who really did die around the time my book is set. But since it’s ancient Egypt, Jagger’s task is not to save her life—that wouldn’t honor the history—but her afterlife. The ancient Egyptian belief in the afterlife is both fantastical and historical!
2. Mixing it up … literally
My biggest aha moment came when I figured out a way to mix the modern with the ancient. Artifacts, aka things, were the key. See, everyone has things, modern sixth graders and ancient princesses alike. I thought kids would be interested in the things ancient Egyptians valued, like magical amulets and small figurines designed to spring to life in the afterworld to care for the dead. And imagine the shock an iPhone 3,000 years in the past would trigger. But the real fun came when I started switching modern things with ancient artifact. For example, when the kids’ magician sidekick loses the wax she needs to cast a magic spell, it gets replace by gum from Aria’s purse. (It’s the best way to magic up a killer Apep serpent! Who knew?)
3. Digging the details
Yes, details are key for all writers. But when you’re creating new worlds (writing fantasy) or taking people into unfamiliar historical periods (writing history), giving readers information on what things look like, sound like, and feel like is even more important. When your historical period is ancient Egypt, addressing the sense of smell is a must. That’s because ancient Egypt was a smelly place. No, I haven’t traveled back in time to confirm that suspicion, but scents are so commonly referenced in stories and texts and even images that I feel secure with the assumption. One way I highlighted the sense of smell in my series was to give magicians unique scents—the princess Tatia’s magic spells smell like fresh herbs, while the lovely Mut’s spells release the scent of lotus blossoms. It was just one small way to weave real history into the fantasy.
With book one, Jagger Jones and the Mummy’s Ankh, available in late May, I hope kids enjoy the adventure and don’t mind the history they pick up on the journey. You can learn more about Egyptian history, my books, and classroom activities like my Jagger Jones themed escape the room activity, on my website here: http://malaynaevans.com
Jagger Jones & the Mummy’s Ankh Author: Malayna Evans
Published May 28th, 2019 by Month9Books
About the Book: Jagger Jones is a whiz kid from Chicago’s South Side. Ask him anything about Ancient Egypt, and Jagger can fill hours describing all that he knows. But when he and his precocious little sister Aria fall more than three thousand years back in time to the court of Amarna, Egypt, Jagger discovers a truth that rocks his world: books don’t teach you everything there is to know.
Mummies, pyramids, and cool hieroglyphics make awesome movie props, but the ancient court of Amarna is full of over-sized scorpions, magical amulets, and evil deities determined to scare unwanted visitors away. If Jagger and Aria are to return safely home, they must find nine soul-infested gemstones, defeat an evil general, save the royal family, and figure out how to rescue themselves!
Armed only with Jagger’s knowledge of history and a few modern objects mined from his pockets and Aria’s sparkly purse, the siblings have exactly one week to solve supernatural riddles and rescue the royal family. If they can pull it off, Jagger Jones just might return to Chicago a hero.
About the Author: Malayna Evans was raised in the mountains of Utah and spent her childhood climbing, skiing, reading Sci-Fi, and finding trouble. Many years later, she earned her Ph.D. in ancient Egyptian history from the University of Chicago. She’s used her education to craft a time-travel series set in ancient Egypt. Book one, Jagger Jones and the Mummy’s Ankh, is out in May of 2019. Malayna spends her time visiting classrooms to share her passion for ancient Egypt, traveling with her two kids, and walking her rescue dog, Caesar. She lives in Oak Park, Il.
The Atlas of Monsters: Mythical Creatures from Around the World
Creators: Sandra Lawrence and Stuart Hill
Published April 23rd, 2019 by Running Press
Summary: A whimsical and imaginative catalog of fantastical beasts and creatures of myth and legend from around the world-complete with a code that needs cracking to uncover the mystery of the monster atlas!
One day a collection of very old maps is found in a dusty library. They show where in the world monsters and creatures from mythology and folklore can be found. According to the notes left with the maps, they were made by Cornelius Walters, an intrepid explorer from the 15th century. But did Walters really make these elaborate maps, or is it all a hoax? The librarian who discovered them is not certain . . . and what are the strange messages in a cryptic code that Walters records in his ship’s log? The codes throughout, once cracked, may indeed lead to something sinister that will happen should the atlas ever be published!
This is a gorgeously illustrated and comprehensive catalog of monsters, beasts, and mythical creatures from around the globe, with an easy-to-read format and incredible detail on each spread. It is many things, all at once:
A reference guide: Grouped by continent, this illustrated atlas lists and defines magical creatures from folklore around the world. Readers will find creatures from stories they’ve heard–like leprachauns, manticores, zombies–and learn about lesser-known creatures like the squonk, the tatzelwurm, and the fengu.
A journal: Presented as a record created by a fifteenth-century voyager named Cornelius Walters, the book includes Cornelius’s personal anecdotes about encountering monsters during his journey.
A mystery: The book also includes notes from a librarian who supposedly found the atlas and is trying to figure out whether Cornelius was making up stories for the monsters…or whether monsters are real.
A code: A mysterious code appears on each page and is referred to by both Cornelius and the librarian, encouraging readers to crack it…before it’s too late.
For kids (and adults) who love mythology, the supernatural, mysteries, or code-breaking, this whimsical blend of folklore and fiction provides both a joy and a surprise on every page.
About the Creators:
Sandra Lawrence is an author and journalist. She is the author of two middle grade history books: Grisly History: Death and Destruction and Grisly History: Trials and Treachery. She lives in London, England.
Stuart Hill is an illustrator and designer. He is especially interested in printed textures, hand-lettering, and map illustration. He lives in England.
Review:This book is really everything that the summary states. It is fascinating! And beautiful! There is some humor because of the voyager’s anecdotes and the librarian’s notes, too, which is always nice. And the addition of the code adds an interactive element to the text. Highly recommended for any teacher teaching mythology or any traditional stories with monsters/creatures.
Teachers’ Tools for Navigation: This text would be perfect for teaching and discussing the Literacy.RL.9 standard which discusses how modern texts uses traditional text. Using The Atlas of Monsters, students can get an introduction to allusion around a discussion of where they have heard of the monsters before. And this is just the beginning! It would be so much fun to make your own Atlas of Monsters!
Discussion Questions:
Find the clues throughout each page, and crack the codes in the book.
How many different points of view are shared in the book? How does this affect the reading experience?
Pick one of the creatures and do further research and create a longer profile about them.
Before reading about one of the continents, do your own research and try to predict which mythical creatures will be mentioned.
What are some similarities/differences between what you knew about ____ and what is in the text?
Flagged Passages:
Read This If You Love: Mythology, Cryptozoology, Folklore, the supernatural, code breaking
Recommended For:
**Thank you Running Press Kids for providing a copy of the book to review!**
Gods and Heroes Author: Korwin Briggs
Published August 21, 2018 by Workman
GoodReads Summary: Meet the Original Superheroes.
Before there was Batman, Wonder Woman, or Black Panther…there was Indra, Hindu king of gods, who battled a fearsome snake to save the world from drought. Athena, the powerful Greek goddess of wisdom who could decide the fate of battles before they even began. Okuninushi, the Japanese hero who defeated eighty brothers to become king and then traded it all for a chance at immortality.
Featuring more than 70 characters from 23 cultures around the world, this A-to-Z encyclopedia of mythology is a who’s who of powerful gods and goddesses, warriors and kings, enchanted creatures and earthshaking giants whose stories have been passed down since the beginning of time—and are now given fresh life for a new generation of young readers.
Plus, You’ll Learn All About:
Dragons: The Hydra, St. George’s Dragon, and the Australian Rainbow Snake
Giants: Grendel, Balor of the Evuil Eye, Polyphemus, and the Purusha with the thousand heads
Monsters: Manticore, Sphinx, Minotaur, Thunderbird, and Echidne, mother of the Nemean lion that nearly killed Heracles
Underworlds: Travel to Hades, Valhalla, and the Elysian Fields
Review: I always enjoy Workman books. The offer nonfiction information in a way that is fun and engaging. My four-year-old loved this book (even though most of it was a bit over his head). I’d recommend this book for the targeted audience (grades 3-7), but I think younger and older kids would really enjoy it (I know I did!). There are a diverse set of gods and heroes within this story, and they don’t originate from one culture, which I liked a lot. My son seemed to love the Greek/Roman gods the most, so those are the ones that we’ve read so far. We read about a different god/hero each night, and we’ve been going strong for about two weeks. We look forward to reading these stories each night. It makes for a fantastic bedtime routine.
Teachers’ Tools for Navigation: Teachers might ask each student to pick a different god or hero and present it to the class. I’d encourage students to choose a god/hero that interests them, and I think this onus would help students get excited about their presentations!
Discussion Questions: Which heroine/hero did you enjoy the most? Why?; Did you notice any similarities across cultural heroes? Differences? Which hero would you want to learn more about?
Flagged Passages:
Read This If You Love: Mythology, Gods, Heroes, History
Recommended For:
**Thank you to Diana at Workman for providing a copy for review!**
Tsu and the Outliers
Author: E. Eero Johnson
Published May 8th, 2018 by odod books
Summary: Tsu and the Outliers is a graphic novel about a non- verbal boy whose rural existence appears unbearable until rumors of a monstrous giant upend his mundane life. Tsu finds himself at the center of the mystery, as his strange metaphysical connection with the creature is revealed.
As the dragnet closes in, Tsu is forced to choose between a dangerous path leading beyond the periphery of human perception or a life without his only friend.
About the Author: E. Eero Johnson (Erik T. Johnson) is a Minneapolis-based illustrator, graphic designer, and comic book artist. His illustrations have appeared in GQ, The New Yorker, Newsweek, Wired, and The New York Times, and on several book covers. His comic book projects, The Outliers and Kozmo-Knot, have gained a growing interest from the indie comic world. He lives with his wife, Tammy, sons, Emmett and Eilif, and a crazy Boston terrier.
Review: Tsu and the Outliers is an interesting look at a new type of superhero: a young non-verbal boy who is able to communicate with a creature that his world is afraid of. There are some interesting discussion points when it comes to bullying since Tsu is judged by his classmates because of his disability. This is a big theme during the beginning of the book as we get to know Tsu. The creature also ends up being a Sasquatch and they are being chased by a chupacabra-like creature which introduces North American folklore. Overall, the story is pretty crazy (in a good way), and the end of the book sets up for a definite sequel which I NEED because Tsu makes a crazy decision at the end of the book with no explanation.
Teachers’ Tools for Navigation: Use the scene where Tsu is bullied by Jespers to start a dialogue about bullying. Discuss why the scene makes them angry and uncomfortable and what could have been done by others to help Tsu. Have students create anti-bullying advertisements to share in your school.
When mythology and folklore are discussed, the focus is primarily on Greek, Roman, and Egyptian. Use Tsu and the Outliers to discuss North American folklore including the Sasquatch and chupacabra. Have them research the tales about these creatures and create their own myth with them in it. Also, as a class, discuss the difference between the characters is Tsu and traditional folklore.
Discussion Questions:
What foreshadowing was there to show that Tsu was more than what everyone assumed?
Tsu’s lack of verbal communication in the end of the book ended up not being a disability. What do you think caused it?
Why do you think Tsu made the choice he did at the end of the book?
Why do you think Tsu’s mother made the claim she did at the end of the book covering up for Tsu?
Why does the Chimpanzee-professor want Tsu?
Flagged Passages:
Read This If You Love: Superpowers, Folklore, Superhero comics
Recommended For:
**Thank you to odod books for providing a copy for review!**
The Underneath Author: Kathi Appelt
Illustrator: David Small
Published May 6th, 2008 by Atheneum Books for Young Readers
Newbery Honor (2009), National Book Award Finalist (2009)
Summary: There is nothing lonelier than a cat who has been loved, at least for a while, and then abandoned on the side of the road.
A calico cat, about to have kittens, hears the lonely howl of a chained-up hound deep in the backwaters of the bayou. She dares to find him in the forest, and the hound dares to befriend this cat, this feline, this creature he is supposed to hate. They are an unlikely pair, about to become an unlikely family. Ranger urges the cat to hide underneath the porch, to raise her kittens there because Gar-Face, the man living inside the house, will surely use them as alligator bait should he find them. But they are safe in the Underneath…as long as they stay in the Underneath.
Kittens, however, are notoriously curious creatures. And one kitten’s one moment of curiosity sets off a chain of events that is astonishing, remarkable, and enormous in its meaning. For everyone who loves Sounder, Shiloh, and The Yearling, for everyone who loves the haunting beauty of writers such as Marjorie Kinnan Rawlings, Flannery O’Connor, and Carson McCullers, Kathi Appelt spins a harrowing yet keenly sweet tale about the power of love, and its opposite, hate; the fragility of happiness; and the importance of making good on your promises.
Author: Kathi Appelt is the New York Times best-selling author of more than forty books for children and young adults. Her first novel, The Underneath, was a National Book Award Finalist and a Newbery Honor Book. It also received the PEN USA Award. Her other novels include The True Blue Scouts of Sugar Man Swamp, a National Book Award finalist, and Maybe a Fox, one of the Bank Street Books Best Children’s Books of the Year. In addition to writing, Ms. Appelt is on the faculty in the Masters of Creative Writing for Children and Young Adults at Vermont College of Fine Arts. She lives in College Station, Texas. To learn more, and to find curriculum materials and activity pages, visit her website at kathiappelt.com.
Review: Anyone who has read a Kathi Appelt book knows that she is amazing at two things: weaving a story together in a way that only she can & pulling at heart strings causing definite mood swings while reading. The Underneath is the epitome of her excellence, and I am sad it took me so long to get to this book. Once done, I was very excited to ask Kathi about this masterpiece, and my questions and her answers show more about what makes this book the award winner that it is.
Interview:
Kellee: How do you work to weave different elements into your story such as mythology, the natural world, and contemporary stories?
Kathi: It’s always interesting to me to learn what sets a story off. Some authors swear that they start with characters. And I would say that characters are definitely a good place to start. But when I reflect over my many years of writing, I feel like I mostly start with place. I ask, what is it about this place that lends itself to story? What is the history of it? The social and cultural importance of it? Who has lived here? Who was here a thousand years ago? What were they doing? How did they survive? What impact did natural forces play on this place? What is the flora and fauna? Are there ghosts? Are there particular features of it? So, it seems to me that place creates the basis for most of my stories.
In The Underneath, one of my story lines occurs a thousand years ago, which means that my mythological characters (who were interlopers), would have encountered members of the Caddo/Hasinai nation. Theirs was a sophisticated, highly organized society. But a couple of things happened. One was a massive earthquake that caused a devastating flood which wiped out an entire city, thousands of people. Another was the encroachment of European settlers who brought in disease and ultimately drove the Caddo/Hasinai out of their ancestral lands.
The Caddo were—and still are—known for their pottery, so it made sense to feature a significant jar in my story. That way, I could more clearly link the characters to each other across time periods. One thing leads to another. But in the end, it goes back to place.
Kellee: The Underneath has multiple stories that are interwoven and meet at the end. How do you plan writing a novel like this?
Kathi: Extended narrative has always been difficult for me. I started my professional writing life as a poet and picture book author. As a result, it seemed like everything I wrote tended to finish at the bottom of page three. It was why writing a novel eluded me for such a long time. I always thought that a novel meant writing long chapters, strung together chronologically, and moving from point A to a final point Z. But it wasn’t in my nature to write like that. Long chapters weren’t the way I rolled. Finally, after many failed attempts, I figured out that if I was ever going to write a novel, I would have to go with my grain as opposed to going against my grain. So, I adapted to “writing by snapshot.” In other words, I write in small, significant scenes—I call them SSS’s. I can get a lot done that way without worrying about word counts or chapter lengths, or even transitions. Plus, they’re easy to manipulate. A small scene can be moved hither and yon until it finds the right place in the story.
I think that one of the reasons that writers fail is because they haven’t found their own natural way of working. Long narrative passages aren’t my strength. I’m not saying that I can’t write them, only that they’re not where my strengths lie.
So, finding the form that fits both our natural strengths and that suits the story, is one of the keys to unlocking a book . . . and a writer. Not all of us are meant to be poets. Not all of us are meant to be soaring prose practitioners. It could be that I’m a little ADD, and the short scenes suit me.
At any rate, making this discovery was how I finally finished a novel.
I also want to say in regard to planning, I do make very loose outlines when I embark upon a new project. Those outlines tend to flex as I move through the draft. But I always try to at least have a vague idea of how the story will end. Otherwise, I’ll just write myself right off the cliff. If I can see the destination, I can get there eventually.
Kellee: Personification allows the setting to become its own character in the story. How do you plan this and implement it well when you are writing?
Kathi: I spend tons of time researching the plants and animals that populate the setting. And to me, a living organism, such as a tree, is just that—living. If you spend enough time around trees, it seems like they each have their own personalities, their own needs, and their own ideas. I’m just saying. So, unless something is inanimate—like a rock, say—I can usually find the heart of that living organism. That is always my goal.
Kellee: What about The Underneath do you think resonated with readers 10 years ago and still remains today?
My true hope with The Underneath is that my young readers can see the value of making a good choice. In my story, both the hero Ranger and the antagonist Gar Face have similar experiences, similar fates if you will. They’ve both been badly treated, both been isolated, and yet only one of them turns towards love. Grandmother too, finally, at long last—after the longest time out in history—chooses love. I think that young readers are tuned in to this. I think they’re built for love. What I hope my story does is to give them the courage to make that choice.
Kellee: What feedback have you gotten from readers over the years about The Underneath? What stands out about what the book means to them?
Gosh, it’s hard to say just one thing, but it seems to me that mostly what I hear over and over from them is how much they love the relationship between Ranger and the kittens. That small sweetness seems to be the key that opens the story up. To me, it’s proof that we don’t all have to be the same or look the same or smell the same or whatever to become best friends. And no matter how small we are, we can make a difference for those we love.
Book Trailer:
GIVEAWAY!
Fifteen lucky winners will receive an autographed paperback copy of The Underneath. In addition, one Grand Prize winner will win a classroom set of 20 copies of the book PLUS a 30-40 minute Skype visit for her/his school, classroom, or library with award-winning author Kathi Appelt. Enter here!
Recommended For:
Thank you, Kathi, for your thorough and beautiful answers to my interview questions, and thank you to Blue Slip Media for the giveaway and trailer!
Dragonfly Song Author: Wendy Orr
Published October 27th, 2017 by Pajama Press
Summary: The whispers say it’s not true that the Lady’s firstborn died at birth. They say it’s worse—the baby was born with an extra thumb dangling from each wrist. If she’s not perfect, she can never follow in her mother’s footsteps.
Nobody but the old wise-woman knows what truly happened to Aissa, the firstborn daughter of the priestess. If they saw the half-moon scars on the servant girl’s wrists they would find it out, but who would look twice at lowly, mute No-Name? Then the soldiers of Crete come to the island, demanding children as tribute for their god-king’s bull dances as they do every year. Aissa is determined to seize this chance to fight for her own worth and change her destiny once and for all.
Lyrically written and refreshingly unpredictable, Dragonfly Song is a compelling Bronze Age fantasy that suggests a fascinating origin for the legend of the Minotaur and his dark tribute.
“As mesmerizing as a mermaid’s kiss, the story dances with emotion, fire, and promise.” -Kirkus Reviews, starred review
About the Author: Wendy Orr was born in Edmonton, Canada, but grew up in various places across Canada, France, and the USA. She studied occupational therapy in the UK, married an Australian farmer, and moved to Australia. She’s the author of many award-winning books, including Nim’s Island, Nim at Sea, Rescue on Nim’s Island, Raven’s Mountain, and Peeling the Onion.
Art: In Chapter 2, Aissa and the potter’s daughter make ‘circles of flowers
in a ring of stones.’ Later, Aissa makes patterns of flowers and shells for the fishers’ goddess (the first in Chapter 9) and patterns of rocks and her small treasures for the goddess in her sanctuary cave. Patterns are used in some religions and meditative practices; Indian or Tibetan mandalas and Navajo sandpaintings are probably the best known now.
To draw a mandala: http://www.art-is-fun.com/how-to-draw-a-mandala/
Ideas for mandala-type patterns using fresh flowers: http://twistedsifter.com/2014/07/flower-mandalas-by-kathy-klein/
Make your own patterns with sea shells, flowers, pebbles, leaves, seeds, or other natural materials. Glue them into place on card, or photograph them.
Writing: In Chapter 24, Aissa learns to write on the clay tablets used for taxation records. The writing she used was called Linear B, and was a combination of a ‘syllabary’ – each symbol representing a syllable of a word – and ‘logograms,’ which are symbols of whole words. These tablets were supposed to be temporary, but were baked into pottery when the palaces burned down. Have students make their own clay tablets using real clay or as in these instructions: http://www.ehow.com/how_12110304_make-egyptian-hieroglyphics-tablet.html For some of the Linear B logograms: http://www.omniglot.com/writing/linearb.htm
Time Capsule: Without written historical records, interpreting archaeological finds can be very difficult. Put together ‘time capsules’ of small items – e.g. a birthday card, Barbie doll, shopping list, old iPod, CD… Break the class into small groups and have them use the items to ‘interpret’ questions such as this society’s religion, dress code, and social structure.
Author-Created Discussion Questions:
Like The Hunger Games, Dragonfly Song draws on the Greek myth of Theseus, in which seven youths and seven maidens are sent as tribute from Athens to Crete, to be eaten by the monstrous half-man, half-bull Minotaur. However, Dragonfly Song looks back to the possible origins of the myth in Bronze Age Greece, and the palace of Knossos in Crete. The bull was obviously a very important symbol, probably even a god – even though the real animals would be sacrificed to their god – and there were many scenes, on paintings, vases, and gold jewellery, showing young acrobats somersaulting over the backs of bulls. What if these acrobats were part of a payment to Crete in return for protection by – or from – their powerful navy? If so, the tribute would have come from as far as the Minoan navy reached. Discuss the power of myth – why have some stories lasted for thousands of years?
Discuss how the physical setting of Aissa’s home is a metaphor for the grimness of her life there. (e.g. The island is rocky, poor and isolated; buildings are dark, built of rock or burrowed into the side of the mountain.) What about the springtime when she develops new strengths after being cast out of the servants’ kitchen?
In the Bull King’s palace, the buildings are awe-inspiring, filled with light and extraordinary art. The culture appears to be obsessed with beauty – but is there a darkness underpinning it?
Dragonfly Song is set in the Bronze Age, but the ordinary people of Aissa’s island still use stone tools as well. Why do you think that would be?
In the prologue, The Firstborn Daughter, what are the clues to tell us that this is a matriarchal society? How does it differ from a patriarchal society? The Mosuo of China are an example of a matriarchal society in the present day. https://www.youtube.com/watch?v=eoTrARDa8BU
Chapter 8 mentions that the chief killed the last lion for his cloak when he married the Lady. Why might he have wanted a lionskin cloak rather than a deerskin? Why do you think the islanders didn’t worry about conservation and keeping all their native species alive?
In Chapter 9, the servants are ‘screaming with joy at their game of hate.’ Why do you think the author described bullying Aissa as a game? How does bullying Aissa make the servants feel?
Aissa is an ‘elective mute’ because there is nothing physical or intellectual preventing her from speaking. However, that doesn’t mean that she could speak if she wanted to: Mama’s command, ‘Stay quiet, still as stone till I come back,’ is buried so deep in her subconscious, and is so mixed with the trauma of the family’s death and disappearance, that Aissa can’t simply decide to start talking, even when she’s safe. Would she have been more accepted by the other servants if she could talk? How might it have changed the story if she had regained her speech after singing the snake away from Luki? Do you think she could have regained her speech if she had been treated kindly after being rescued? Do you think that meeting Mama again was the only reason she regained her speech, or might it have been partly because she’d faced death in the bull ring, and was safe now? A real-life example of a child choosing to become mute after trauma is Maya Angelou’s story (summarized in Goodnight Stories for Rebel Girls).
Discuss the book’s structure with the students. What was their reaction to the combination of free verse and prose?
Wendy Orr says that using free verse made it easier for her to access and portray Aissa’s emotions. Have the students choose an emotion, e.g. rage, grief, or joy – and write about it in free verse. Next, have them write a short story using the ideas and images that arose from the verse.
Why do you think the author chose to write in free verse rather than rhyming, like the children’s rhyme in Chapter 10? Here comes rabbit, hippity hop
See his ears flap and flop;
Here comes hedgehog, curled up small
Roll him over like a ball.
Wendy Orr says that she normally writes in silence, on the computer, but found that the verse sections for this story had to be written by hand, playing the album Agaetis Byrjun by the Icelandic band Sigur Ros. Experiment with playing different types of music as the students write verse.
