Curr 538 - Final Project Appendix I - Individual Book Analysis Based On Rubrics - Jaclyn Brown

Childrens Books that Allude to Classical Literature or Classic Author (12 Books)
1 Picture Book Series (D.B. Johnson)

o Henry Builds a Cabin
o Henry Hikes to Fitchburg
o Henrys Night
o Henry Climbs a Mountain

5 Picture Books
o Deborah ONeil & Angela Westerngards The Trouble with Henry
o Adam Rexs Frankenstein Takes the Cake
o Matthue Roths My First Kafka
o Kylo Maclear & Isabelle Arsenauts Virginia Wolf
o Fanny Britt & Isabelle Arsenauts Jone, the Fox, and Me

3 Childrens Chapter Books
o Gordon McAlpines The Misadventures of Edgar & Allan Poe: The Tell-Tale Start
o Kathryn Fitzmaurices Destiny Rewritten
o Loretta Ellsworths In Search of Mockingbird

RUBRIC
QUALITY OF ALLUSION
5 4 3 2 1
Component of
Allusion
Thorough and multi-
dimensional portrayal
that seamlessly and
coherently embraces key
(and perhaps even minor)
attributes, showing
evidence of research and
attention to detail.
A well-informed, full-
figured portrayal that
takes on several
attributes with clarity and
cohesion, so it exhibits an
underlying research base.
Does not account for the
natural balance of
point/counterpoint that
prevents overly
optimistic or pessimistic
portrayals, potentially
affecting realism and, in
turn, believability.
Simplified portrayal that
focuses on one key
attribute in favor of a
one-note, superficial
allusion.
Oversimplified portrayal
that either omits, glazes
over, exaggerates,
misrepresents, or distorts
key attributes.
Allusion & Story
Interdependence
(Necessity of
Allusion
Knowledge)
The storys basic plotline
is entirely grounded in
the allusion. No
knowledge of the allusion
will completely and
automatically prevent
comprehension of the
story.
An overarching theme or
a main character in the
story is heavily grounded
in the allusion, so an
adequate understanding
of either necessitates
knowledge of the
allusion.
One or more plot events
or character traits are
dependent upon
adequate knowledge of
the allusion, and they
influence comprehension
of the general plotline.
A single, isolated plot
event is dependent on an
adequate understanding
of the allusion, but
skipping over the event
does not impact
comprehension of the
general story.
The story can operate
independently from the
allusion. No knowledge of
the allusion is necessary
to understand the
general plotline.
Allusion & Story
Interdependence
(Benefit of
Allusion
Knowledge)
Knowledge of the allusion
reveals a second layer to
the story, clarifies
material, and illuminates
new interactions
between text details and
new meaning behind
character traits and/or
plot events.
yields greater death and
meaning to the general
storyline, but offers no
unveiling of unexpected
associations or creative
reasons for the authors
choice in text or
illustrations.
grants access to a second
layer of meaning, but
that new layer is not
particularly sophisticated,
informative, creative, or
engaging.
just clarifies stand-alone
allusion-dependent
material, offering
minimal depth and
meaning to the overall
story.
The story is so ill-
grounded in the allusion
or superficial in its
embrace of the allusion
that knowledge of the
allusion does not add any
new depth or meaning.
Allusion & Story
Interdependence
(Intrinsic
Scaffolding to
Build Allusion
Knowledge)
Appropriate background
information about source
text/person integrated
seamlessly into new
storyline, so reader can
adequately understand
allusion without external,
self-initiated research.
Adequate background
information about source
text/person included -
but in a clunky and/or
artificial, forced way to
show plot elements or
character names/actions
are purposeful, not
random.
Ineffective quantity of
elaboration (small or
overabundant) on
original story / real-life
classical author in
storyline, adding too little
or too much background
to the character names
and/or plot.
Inclusion of an appendix,
foreword/afterward, or
other reference material
external to (before/after)
the story that describes
the source story in an
informational not
narrative text form.
No mention of the source
material other than the
title, character names,
etc., so research would
be necessary to interpret
and/or perceive the
depth/extent of the
allusion.

Text / Plot
Features that
Contribute to
Allusion
A systematic, creative,
and thought-provoking
literary or artistic
addition brings to life and
supplements one or more
components of the
allusion, adding depth,
pathos, vibrancy, and
meaning.
A well-developed, but
simple, literary or artistic
addition advances one or
more components of the
allusion, adding another
layer to the portrayal.
A minor, unoriginal
addition slightly
reinforces a component
of the allusion, but does
not elevate the portrayal
through creativity or
added sophistication.
A counterproductive
addition distorts the
portrayal, interferes with
the clarity of the
portrayal, or isnt
executed completely,
consistently, or logically
throughout the book.
A counterproductive
addition degrades and
violates the integrity of
the allusion. Serves to
make the portrayal
disrespectful.
Virginia WOLF Kyo Maclear & Isabelle Arsenault

Type of
Allusion
Quality of Allusion to Classical Literature
Classical Author
Protagonist is a Fictional Relative
to Classical Author
Classical Literature Retelling of Classical Literature
X
Component of Allusion 5 4 3 2 1 Key Comments
Virginia Woolf X
No acknowledgement of Virginia Woolfs writing aptitude. Embraces Virginia Woolf mainly
through a general deception of depression, not through its individualized severity.
Vanessa Bell X
Focuses on Vanessa Bells career as a painter and interior designer. Implies the way in
which she viewed art as a way of establishing interpersonal bonds.
Sister Relationship X
Zooms in on the sisters intimate, nurturing bond, but omits the fierce rivalry and
competitiveness that also existed between them.
Depression X
Offers a quick fix it approach to her depression, casting it as superficial despite its real-
life severity. Generalizes with several symptoms: irritability, over-sleeping, self-seclusion.
Bloomsbury Group X
Presents Bloomsbury as a place of the imagination exclusive to the sisters, so establishes it
as a bonding place and artistic refugee just not to its actual scale and physicality.
Interdependence between
Allusion and Story
5 4 3 2 1 Key Comments
Necessity X
Can be read as a straightforward story about a sister who wishes to regain her sister lost
to depression and does so through her artistic talents, a typical means of healing.
Benefit X
Illuminates Vanessas decision to use art to help her sister (purposeful, not just arbitrary)
and the sisters co-creation of Bloomsbury (more than a one-time sister bonding activity).
Intrinsic Scaffolding X
No scaffolding to reality that Virginia Woolfs sister was actually a painter by profession.
No indication that Bloomsbury was not just a random name of the authors own creation.
Text Features that
Contribute to Allusion
Anthropomorphism X
A thoughtless play on Virginia Woolf. Not an appropriate animal symbol for depression. As
an archetype, wolves rival biblical snakes for their perceived embodiment of evil.
Illustration Color X
The standard contrast of color to illustrate depression (black, whites, and grays to
externalize Virginias depression and rainbow colors for Vanessas artwork).
Dialogue Font & Size X
Enlarged upper-case letters compose Virginias dialogue. Assumes normal size after art
intervention, but doesnt become sentence case when she transforms from wolf to girl.

Jane, the Fox, and Me Fanny Britt & Isabelle Arsenault

Type of
Allusion
Classical Author
to Classical Author
X
Jane Eyre X
Not only relaying the progression of Jane Eyres life, the story summaries tap into her
emotions (inner conflict), portraying the self-depreciating actions of her low self-esteem.
Rochester X
Only acknowledgement of Rochesters darker side is in the second summarys description:
mysterious with his feverish eyebrows (29).
Splintered Chesnut Tree X
A crrracking precedes near-union of Helene and fox and Suzannes scream that scares
off fox. Broken tree foreshadows Berthas disruption of Janes union with Rochester.
Plot Summaries X
Accounts for Jane Eyres poor upbringing, life at Thornfield mansion (i.e. Adele tutoring),
love affair with Rochester and its decline (i.e. Bertha Mason), and reunion with Rochester.
Allusion and Story
Necessity X
While the story can be read as merely a poverty-stricken, outcast girls experiences with
mean girls and bullies in school, keys ideas and implied happy ending are in the allusion.
Benefit X
Helene = Jane Eyre, Fox = Rochester, Suzanne Lipsky = Bertha Mason. Both stories draw
on brown strew, Janes strategies to cope, and the crack of splintered chestnut tree.
Color inserts that summarize Jane Eyre break up the storyline, but dont account for
allusion to white face, splintered chestnut tree. Bertha Mason not named, just illustrated.
Text Features that
Jane Eyres White Face X
In Jane Eyre, Jane describes how she sees herself as she passes a mirror: the strange
little figure there gazing at me, with a white face and arms specking the gloom (Ch 2).
Color Story Inserts X
Parallel plot text structure. Helenes summaries of the book are included as colored pages,
and inform reader of the classic plot to make explicit - and enable implicit - connections.
Key Vocabulary Overlap X
Objects or ideas mentioned in Jane Eyre summaries are also integrated into Helenes
storyline (i.e. brown strew, Janes strategy of portrait drawing/studying = Helenes
strategy of fake smiles, pretend busyness).

Frankenstein Takes the Cake Adam Rex

Type of
Allusion
Classical Author
to Classical Author
X X
Edgar Allan Poe X
1
st
Excerpt: Presented as more ethical (i.e. Poe quick to accuse others of plagiarism,
especially Longfellow), but first poem shows moral attempts to avoid plagiarism). 3
rd

Excerpt: Perpetuates common error of equating author with his poems narrator.
Accusations of Plagiarism X
Alludes to real-life accusations of plagiarism, but never accused of stealing the line he
contemplates here: Gertrude Steins 1913 Emily line, A Rose is a rose is a rose.
Raven from The Raven X
Talks and sits on bust above door just like in Poes poem, The Raven. Broader
vocabulary. Offers help to Poe by providing crossword puzzle answer, despite thing of
evil/ devil role in The Raven, where it instigates the mans distress over his lost love.
Narrator from The Raven X
The incessant ringing of wedding bells rather than the incessant Nevermore of the
raven instigates his tortured state. The Raven never cites the cause of death as
drowning, however.
Allusion and Story
Necessity X
To fully comprehend the insertions of the talking Raven, knowledge of The Raven is
needed. But excerpts can be seen as independent takes on plagiarism, insomnia, lost love.
Benefit X
3
rd
Excerpt: Knowledge of the Ravens role as torture-inducer in The Raven illuminates
similar role of wedding bells. 1
st
: Knowledge of plagiarism accusation against Poe reveals it
as hypothetical take on how Poes handles the accusations. Puts excerpts in context.
Intrinsic Scaffolding X Plotline of The Raven is never provided. Henry Wadsworth Longfellow never mentioned.
Text Features that
Raven Drop Quotes X
3
rd
Excerpt: Raven prompts, Get the door! but poem includes church bell ringing, not
door knocking.

My First Kafka Retold by Matthue Roth

Type of
Allusion
Classical Author
to Classical Author
X
Excursion into the
Mountains
X
Almost exact replication of original text. Substitutes child-friendly vocabulary (i.e.
excursion = trip, gaily = happily). Occasionally simplifies original syntax.
The Metamorphosis X
Loss of financial implications of Gregorys transformation. Part II: Loss of symbolism in the
relocation of Gregorys bedroom furniture. Part III: No maid character. Story becomes
choppy and disconnected. Lack of transition between pages. No third-person omniscient
narrator to provide Gregorys thoughts, which explain the plots progression in original.
Josefine the Singer, of The
Mouse People
X
Simplifies the dynamics between Josefine and the mice crowd, so loses its extensive
commentary on the relationship between society and the celebrity (singing v. piping,
inflated self-image, Josefine: need for recognition, mice: need for solidarity, etc).
Therefore, operates less as a microcosm. Doesnt convey original implications of
Josephines disappearance: she is the only one who knows how to transmit it, so music
will vanish from the mices lives for an indefinite period of time
Retelling and Original
Necessity X
The Metamorphosis and Josefine the Singer demands support from the original for
clarity. Regurgitated plot is not supplemented by the original characterization.
Benefit X With The Metamorphosis, plot events must be connected via character thoughts.
Uses original text language for Excursion into the Mountains, but child-friendliness is
questionable.
Text Features that
Illustrations for Excursions
into the Mountains
X
Omits originals primary physical description of nobodies all in dress suits yielding
inhuman, body-painted figures. This entirely changes original portrayal: sophisticated
beings to savages.

The Trouble with Henry Deborah ONeal, Angela Westengard, & S.D. Schindler

Type of
Allusion
Classical Author
to Classical Author
X
Henry David Thoreau X
Presents Thoreau more as an environmentalist than an advocate for the appreciation (not
the preservation) of nature, which is how he presents himself in Walden. His essays push
the environmentalist issue more. Book presents itself as A Tale on Walden Pond.
Clothing X
Character shows Mayor Fogg his patched clothing, exclaiming, I like my shirts sort and
worn and my breeches patched at the knees. Walden comments on how men would
rather be seen with a broken leg, than a broken pants leg (13-14).
Bubbles in the Ice X
Walden cites that the bubbles gather at the ices underside, not within it, and are
numerous in every square inch of the pond at winter. Same silver coin similie: often like
silvery coins poured from a bag (194).
Pumpkin > Velvet Cushion X Virtually identical quote in Walden: (23).
Bread and Butter
Sandwiches
X
Character eats bread and butter sandwiches that had a sharp flavor of pitch while he
worked to build his house. Exact text detail in Walden: great pine boughs fragrance (27).
Allusion and Story
Necessity X Can be read as a simple man v. society story, especially with exaggerated clash.
Benefit X Adds depths to the small text details, like the clothing remark and the winter ice bubbles.
Intrinsic Scaffolding X About Henry David Thoreau included as appendix.
Text Features that
Compare/Contrast Text
Structure Foil Characters
X
Shows Thoreau completely at odds with society, but he went back to Concord for dinner
many nights and traveled to the village for occasional needs (i.e. cobbler, etc).

Henry Hikes to Fitchburg (2000) D. B. Johnson

Type of
Allusion
Classical Author
to Classical Author
X
The swiftest traveller is he
that goes afoot
X
Upheld indirectly. Technically, Henrys friend arrives to Fitchburg first but only because
Henry stopped to pick blackberries. Must be inferred by reader.
The distance is thirty miles;
the fare is ninety cents
X
Highest distance explicitly stated is 25 miles. Implied 30 miles, since no distance is
recorded next to his initial Sudbury River crossing. Fare adds up to ninety cents.
you will be working here
the greater part of the day
X
Henrys friend completes eight jobs, and such a large quantity is reinforced by the
depiction of only one on a page, so his experience requires eight page turns.
seeing the country and
getting experience of that
kind.
X
Juxtaposition between the friends jobs and Henrys adventures sets up the question:
Which would you rather be doing? Henry shown climbing trees, observing bird nests,
swimming in rivers, eating blackberries, collecting flowers, etc.
Necessity X Can be read as a simple bet between two friends.
Benefit X Knowledge of Walden would reinforce text details (i.e. distance/fare, country experience).
A short biography About Henry and the paragraph from Walden on which the
picture book is based are included as an afterward. Omits: and as for seeing the country
and getting experience of that kind, I should have to cut your acquaintance altogether.
Text Features that
Parallel Text Structure X
Once Henry and his friend part, Henrys journey is depicted on the right page (each counts
down miles to Fitchburg), while his friends jobs are on the left (wage of job labeled).
Illustrations X
Henrys friend is walking on the train tracks (3), brown water in rivers and pond (7, 17, 23),
and cows splattered with red, too reminiscent of blood (16).
Anthropomorphism X No significant consequence on portrayal of Thoreau.

Henry Builds a Cabin (2002) D. B. Johnson

Type of
Allusion
Classical Author
to Classical Author
X
Weather X
Snowfall and snow patches on ground are in beginning illustrations to match Walden:
There were some slight flurries of snow during the days I worked there (26).
Emerson & Alcott X
Although Walden indicates visitors - with the help of some of my acquaintancesI set
up the frame of my house (29) these famous names are never pinpointed.
James Collins Shanty X
In more child-friendly language, mentions that Henry bought an old shed. Illustrates him
carrying it to his house in small cartloads, as specified in the original text (28).
4
th
of July X Date of move-in identical to original: I began to occupy my house on the 4
th
of July (29).
Necessity X
Story can be read as a bear building a cabin in the woods with the help of some friends
and secondhand materials.
Benefit X
Knowledge of Walden would deepen the picture books quick reference to a bean patch
and reinforce many details in the text (i.e. sketch pad, time period (March-July)).
About Henrys Cabin and the paragraph from Walden on which the picture book is
based are included as an afterward.
Text Features that
Illustration Details X
The first page illustrates Henry drawing a blueprint for his house with the label 10 ft x
15ft dimensions faithful to Walden - I have thus a tight shingle and plastered house,
ten feet wide by fifteen long (31).
House Illustrations X
Once Henrys house is built, the illustrations show him participating in outside activities
while still physically bound to his house (i.e. leaning out window eating, reading with feet
in window, walking with house as umbrella). Implies disconnectedness from nature.

Henry Climbs a Mountain (2003) D. B. Johnson

Type of
Allusion
Classical Author
to Classical Author
X
Shoe from Cobblers X
Henry went to the shoemaker to retrieve fixed shoe so he can climb a mountain, but
through elements of fantasy gives his shoe to an imagined traveler while in his jail cell
and must buy a new pair of shoes once released. Walden: went to the village to get a
shoe from the cobblersobtained my mended shoe (111).
Unpaid Tax to Support
Slavery
X
Henry didnt pay tax to let famers own slaves so he was thrown in jail. Doesnt reveal
Henrys passionate stance on this issue. Child-friendly, sugarcoated, emotionless,
superficial mention of Walden: I did not pay a tax tothe state which buys and sells men,
women, and children, like cattle (111).
Overnight Jail Stay X Walden only stayed one night in jail, too: I was released the next day (111).
Necessity X
Henry is sent to jail for a seemingly random, out-of-date reason, since time period is not
established beforehand. A shoemaker alone does not equate to Southern slavery.
Benefit X Slavery tax is not seen as a random reason for Henrys imprisonment.
About Henry and the paragraph from Walden on which the picture book is based are
included as an afterward.
Text Features that
Runaway Slave Reward
Posters
X
As Henry enters (1) and leaves (3) jail, there are illustrations details in the form of slave
reward posters $50, $150, $200 for runaway slaves - visually reinforcing the reason for
Henrys incarceration.
Title X
Even though the paragraph from Walden (on which this is based) focuses on the societal
injustice of slavery and Thoreaus admirable rebellion against it, the title of this book
which casts Henrys imagined mountain climbing while in prison as its central point
reinforces the improper lens of this story.

Henrys Night (2009) D. B. Johnson & Linda Michelin

Type of
Allusion
Classical Author
to Classical Author
X
Sounds of Night X
Accurately mentions dogs barking, train whistle, frogs (i.e. from Walden: evening train
whistle (81); Late in the evening I heardthe braying of dogs; shore rang with the trump
of bullfrogs (82)).
Owl X
A two-page illustration spread dedicated to an owl, which is an animal that received
paragraphs of description in Walden.
Nighttime Walks X
Romanticizes nighttime walks with fireflies and a river raft adventure. Only accurately
presents Thoreaus attitude toward rain on his nighttime walks: Rain fall hard now, but it
will not stop me. Let it pour down pairs with Walden: I was never cast away nor
distressed in any weather, though I encountered some severe storms (110).
Necessity X
Can be read as a bears nighttime walk and adventures, especially since details verge on
the fantastical (i.e. paddling past two islands on a raft and falling right into his yard).
Benefit x
Minimal details from Walden are integrated into the picture book, so knowledge of
original would be inconsequential.
Unlike the other books in the series, this picture book does not cite the specific paragraph
on which it is based.
Text Features that
Rain Illustrations X
Text claims that Henry doesnt care about the rain, but illustrations show him running with
his hand on his hat, as if in a rush to get out of the rain. Contradictory. Duration of page is
only two pages, with does not cater to the severe weather Walden cites.
Epigraph Walden Quote X
Illuminates that Henrys raft journey in which he paddles down a misty lake and somehow
falls into his own backyard is a literal interpretation of Thoreaus idea that not till we are
lostdo we begin to find outselves.

The Misadventures of Edgar & Allan Poe: The Tell-Tale Start Gordon McAlpine & Sam Zuppardi

Type of
Allusion
Classical Author
to Classical Author
X X
Edgar Allan Poe X Flat portrayal. Centered around Poes obvious interest in horror and the grotesque.
The Masque of the Red
Death
X
Included as minor detail. The twins dress up as medieval harbinger of doom in this short
story by Poe in order to scare their bullies (33). Could have dressed up as anything scary.
The Black Cat X
When Roderick disappears, twins check walls. Twins dont want cat sent on plane because
cat carrier is like premature burial. Provides logic for character actions and advances plot.
The Purloined Letter X
Main allusion. Twins make progress in solving the mystery by looking for hidden objects in
obvious place (68, 92, 128), as if that were the only take-away of the short story. Huge
plot advancer, so over-dependence on this allusion yields predictable plot.
Allusion and Story
Necessity X
Validating twins thinking with the Poes stories developed characterization, but character
actions would not have seemed far-fetched/illogical if not justified by Poes work.
Benefit X
Many of the reasons behind character actions are grounded in Poes short stories, so
allusions show fully why the characters act the way they do or come to certain conclusions
Intrinsic Scaffolding X Summaries of Poes stories are provided only when immediately relevant.
Text / Plot Features that
Twins Inherited Character
Traits from Poe
X
Physical appearance (2, 75), proficiency with words (9), interest in horror (72), and
imagination (162). Standard traits that would be associated with Poe.
Subtle Details X
Mentions that the twins would always dress up as one of Poes characters (16). Uses Poes
language: A tell-tale vein Uncle Jacks forehead began to pulse (20). Inserts a
paperweight shaped like a raven in the twins homeschooled classroom (40).
Parallel Text Structure:
Poe in the Afterlife
X Characterizes Poe as rebellious, family-oriented. Writes morbid fortune cookies (100).

In Search of Mockingbird Loretta Ellsworth

Type of
Allusion
Classical Author
to Classical Author
X X
Harper Lee X
Extensive biography details covered (from law school drop-out, article writing, reclusive
nature, etc): 34, 49, 55, 74, 79, 98, 99/100, 129, 154, 168. Reader knowledge of Harper
Lees first name Nelle spoils ending.
To Kill a Mockingbird X Main plot points used in allusions (i.e. courtroom trial, Boo Radleys house, etc).
Atticus Finch X
Plot summaries never adequately characterize Atticus, alluding to him (15) prior to Erins
overview of the story (45), prompting readers to miss out on that allusion.
Boo Radley X
Inclusion of how Scout and Jems first impressions of Radley were not accurate would
have added to overarching theme (Epp was not a weirdo). Tied only to plot events.
Allusion and Story
Necessity X
The rationale for character action (i.e. why leave a note for Boomer, why it doesnt matter
if Harper Lee actually talks to Erin or not, etc) is often embedded in allusion, but character
actions would not seem irrational or far-fetched if not grounded in the text.
Benefit X
Atticuss idea of honor in trying (114), and knocking on Boo Radleys house scenes
added meaning to character motivations, but Scout and Atticus parallels were superficial.
Erin uses To Kill a Mockingbird to guide her actions, so as she attempts to solve a problem,
she often summaries a portion of the text that justifies her brainstormed solution. General
plot summary introduced on p. 48, despite Atticus and Scout referenced prior. Summaries
never go into depth to promote a thorough understanding of Lees characters.
Text / Plot Features that
Erin Receives Nickname
Scout

Sedushia Manly, the exotic dancer, nicknames Erin, Scout, but Erin abandons the title
when she meets Epp. No tomboy connection, only mother death.
Subtle Details
Cat Name: Miss Maudie
X
Minor detail. The character Miss Maudie Atkinson never mentioned in text (so no intrinsic
scaffolding). Seems purposeless.

Destiny Rewritten Kathryn Fitzmaurice

Type of
Allusion
Classical Author
to Classical Author
X
Emily Dickinson X
In the plotline, allusions to Dickinson just revolve around how Emily is not poetically
inclined, she is not like Dickinson. More elaborate allusion for Danielle Steel.
Unconventional
Punctuation of Poems
(Capitals and Dashes)
X
Dickinsons sporadic, unconventional use of capitalizations and dashes linked to the Big
Things and the moments between the Big Things to prepare ourselves for the next Big
Thing (322). Fits into context of storyline, but a
Epigraph Poem: In This
Short Life
X
This brought story all together. Seeing Emily Dickinsons thoughts on destiny and
comparing with Emily and her mother brings new meaning.
Allusion and Story
Necessity X
Dont have to know anything about allusion to Emily Dickinson other than the fact that she
is a poet.
Benefit X Destiny seems odd lens until poem is read about Dickinsons thoughts about destiny.
Intrinsic Scaffolding X X
Includes illuminating poem as epigraph that connects Dickinson to mans contemplation of
destiny and thus Emilys experiences with it in the book. The poems mentioned are
never provided, just their titles.
Text Features that
Epigraph X
Storyline revolves around characters beliefs about destiny. This shows Dickinsons
thought process on destiny.
Foil Characters X
Emily Dickinson and protagonist Emily do not possess the same writing talents, despite the
purposeful selection of her name to match the classic author at the prospect of her
growing up to be a poet. Instead, Emily likes romantic novels. Superficial foil. No
biographical information included about Dickinson to determine if foil goes further (i.e.
personality, etc) than writing ability (127, 172, 189, 193, 214, 217, 219).

Childrens Literature by Authors of Classic Adult Literature (9 Books)

Picture Books
Aldous Huxleys The Crows of Pear Blossom
James Joyces The Cat and the Devil
Mark Twains Advice to Little Girls
Maya Angelous Life Doesnt Frighten Me
Lemony Snickets The Dark
Illustrated Storybooks
Sylvia Plaths The It-Doesnt Matter Suit
William Faulkners The Wishing Tree
T.S. Eliots Old Possums Book of Practical Cats
Virginia Woolfs The Widow and the Parrot
References
Tunnell, M. O., & Jacobs, J. S. (2008a). Chapter 2: What is a good book? In Children's literature, briefly (p. 10-17). Upper Saddle River, N.J: Pearson Education.
Tunnell, M. O., & Jacobs, J. S. (2008b). Chapter 3: How to recognize a well-written book. In Children's literature, briefly (p. 18-28). Upper Saddle River, N.J:
Pearson Education.
Tunnell, M. O., & Jacobs, J. S. (2008c). Chapter 4: How to recognize a well-illustrated book. In Children's literature, briefly (p. 29-40). Upper Saddle River, N.J:
Pearson Education.

RUBRIC
QUALITY OF TEXT
5 4 3 2 1
Authenticity v.
Didacticism
A storyline is primary. Its
lessons are secondary.
The moral emerges
gradually, logically, and
naturally as a reader
insight not as an explicit
author statement.
The story clearly
precedes the moral, but
there is an explicitly
stated oral (most likely at
the conclusion), so it is
not just implied by the
storyline.
The story either over-
emphasizes or overstates
(scale or content of
lesson not justified by
plot events) its lesson or
moral.
The moral dominates the
story, but small glimpses
of a genuine (but
underdeveloped)
storyline may
occasionally appear.
The teaching of a lesson
or moral overshadows
the storyline. Assumes a
preachy, instructional
tone. Exists more for
didactic purpose than for
enjoyment.
Engaging Plot
Storylines is compelling,
drawing from myriad
literary techniques to
engage the reader,
develop memorable
characters, and create
vivid settings.
Interesting storyline
demands attention and
includes well-developed,
unique characters, but
may not be the freshest
take on its theme or
topic.
May revolve around an
interesting concept, but
transforms it into a
mundane storyline with
average characters. A
predicable chain of
events may be present.
Incomplete or poor
execution. One-
dimensional characters
that are not relatable.
Indistinct or anticlimactic
story grammar (i.e.
climax or resolution).
Lifeless plotline severely
lacks development and
creativity. Shows no
awareness of reader
interest. May contain
offensive material.
Condescension
Presents ideas that
challenge preconceived
notions about a given
topic, expands global
awareness, or provides a
complex topic through
scaffolding - not
simplification.
Introduces readers to
ideas and concepts in
ways that are honest and
thought-provoking.
Room for independent
thinking, but such is
limited by it being
prompted by a superficial
topic/theme or
extraneous details.
Omits the standard
material that would
typically be deemed
inappropriate for young
readers.
Heavily and continuously
underestimates readers
abilities either by over-
explaining the obvious,
using overly simple
vocabulary or
sugarcoating / censoring
difficult topics.
Believability
Plot events and character
actions build from prior
circumstances in a logical
and feasible manner,
adding order but not
predictability.
actions exhibit rationality
and logic, but slight
unrealistic occurrences
are present.
Several plot events or
character actions are
random and detached
from the general order of
the plotline, message of
the text, reality, or the
storys genre.
Actions may deviate from
the characters pre-
established/archetypal
personality or arise from
nowhere. Operates
outside its genres
limitations.
actions are completely
illogical, inconsistent,
and/or far-fetched. May
contain loose ends.

Precise v.
Controlled
Vocabulary
Specific word choice
throughout that expands
vocabulary, adds depth
or imagery to the
language, and offers
alternatives for simple,
general, and common
words.
Careful, intentional word
choice that spans over
most of the text to color
the language. Adequately
abundant, but not overly
consistent.
Sporadic use of specific
word choice, and
knowledge of the shades
of meaning in similar
vocabulary may be
lacking with better
specific words available
than those used.
Minimal use of precise
wording, but one or two
instances may be
present. The majority of
the vocabulary is basic
verbs and nouns.

Arranges words in
unnatural patterns to
exercise control over
vocabulary, and uses only
general, overly broad
terminology.

Repetitive, and
Rhythmic
Language
Language blends together
and flows well, creating
emphasize, repeating
tones, establishing
patterns, and adding
variety. Language is
smooth and effortless.
Language exhibits a
natural rhythm through
repetitive phrases,
although the choice of
repetition may not be
ideal or catchy.
Lack of childish rhythm
and repetitiveness, but
fluid language creates
flow without lapsing into
sing-song or catch
phrases.
Patches of smooth,
rhythmic language
broken up by choppy
sentence flow creates
uneven flow.
Rough cadence and
choppy sound from
uneven meter. Overuse
of too basic or too
archaic language. Forced
rhyme. Complex
vocabulary hinders flow.
Figurative
Language
The combined use of
imagery, personification,
simile, and/or metaphor
strengthens and specifies
language, and in doing
so, strengthens and
clarifies content.
Many instances of
figurative language are
present and strategically
placed, adding
conciseness and clarity,
but not necessarily new
meaning.
Figurative language is
present, but ever so
slightly that its affect is
virtually incalculable.
Minimal figurative
language is used, but in
complex, redundant,
obscure ways that would
serve to confuse young
readers rather than to
clarify.
Figurative language is
never employed.
Language is severely
lackluster without
imagery, metaphor, or
personification.
Depth of
Content
Innovative and unique
coverage of a universal
idea or theme that
integrates myriad literary
techniques to enhance or
further the depth and
insightfulness of a topic.
Thorough treatment of
an idea or theme to offer
unexpected insights, but
not necessarily
groundbreaking in its use
of literacy elements and
techniques.
Although neither an
original or clich
presentation of an idea, it
offers a routine or
predictable way of
handling a topic or
theme.
Clich discussion of a
theme or topic. Lack of
character development
and use of literary
techniques.
Superficial, racist, sexist,
or questionable
commentary on an idea
or theme. Glazes over or
sugarcoats a topic. May
contain stereotypical or
flat characters.
RUBRIC
QUALITY OF ILLUSTRATIONS
5 4 3 2 1
Color
Color choice is varied and
purposeful, employing
hue, value, and
saturation for originality
and imagination. Dark
and light palettes used
appropriately.
Sophisticated use of
color evolves into
patterns. Plays with hue,
value, and saturation for
varying degrees of
effectiveness.
Thoughtful use of color
that slightly touches upon
experimentation with hue,
value, and saturation.
Standard use of color
that shows no creative
intentions or uses (i.e. sky
is solid blue, grass is
green, etc).
Unconventional color
choices or patterns dont
indicate creativity, but
are purposeless and
counterproductive. Color
may be one-note or an
overwhelming array.
Individuality
Innovative use of color,
composition, vision, etc.
Transforms characters
and scenes with unique
touches not present in
the text, thereby
expanding it.
Creative and
knowledgeable use of
color and design in
character, setting, and
scene portrayal to evoke
emotional responses
from reader.
Originality and
imaginative designs begin
to seep into character
portrayals, aiding the
texts characterization.
Slight originality is
apparent, but exists as
minor details.
No originality in design or
style. Generic portraits of
people, setting, objects,
etc.
Composition
Exhibit unity, balance,
and visual patterns
through a purposeful,
creative, and thoughtful
arrangement of
elements.
Thorough attention to
the placement of small
details, but slight
alterations could
increase unity.
Some illustration setups
are thoughtful, but most
are standard, filling the
page evenly and enlarging
central characters.
Imbalanced assembly of
elements. Might suggest
random placement of
illustrations.
Messy or overly
complicated layout that
clutters the background
with details, doesnt
match picture size with
empty space, etc.
Establish Mood
Vivid imagery, and
creative color/lighting
/abstraction employed in
the illustrations to convey
terror, lightheartedness,
happiness, etc.
Various methods of
illustration are employed
to establish mood, but
may not be strong or
well-developed as they
could be.
Illustrations evoke mood
through a slight and/or
standard but cohesive -
use of color and style.
Illustrations over-
exaggerate or downplay
intended mood through
dramatic depictions of
scenes or muted
portrayal.
Illustrations are flat and
lifeless, unable to extract
any emotional response
from the reader.
Establish Setting
Illustrations clearly,
creatively, and accurately
depict time period,
season, location, time of
day, or geography.
Illustrations include
several means of laying
out the setting in a clear,
but unoriginal, manner.
Illustrations reinforce time
period, location, season,
time of day through a
single object or feature.
Illustrations indistinctly
addresses time period,
location, and weather,
etc.
Illustrations do not
include specific details
that pinpoint setting,
over-generalizing and
providing no backgrounds

Interdependence
with Text
Sophisticated illustration
features extend and
develop the texts
plotline, so readers must
navigate that interaction
to fully comprehend the
story.
Adequately assumes the
responsibility of picking
up and developing vague
plot points or
characterizations in the
text.
The plot is rounded out
and refined by the
illustrations by adding
minor details to the
storyline or
characterization.
The illustrations reinforce
the texts plotline, but
dont offer any additional
information about the
storyline. Do not serve to
fill in blanks left open by
the text.
The illustrations are
extraneous to the
storyline, bearing no
obvious relevance even
in an abstract way - to
the text. Or they
muddle/contradict what
the text says.
The Cat and the Devil (1936) James Joyce

Quality of Childrens Literature by Classic Author
Text 5 4 3 2 1 Key Comments
Authenticity X The story may only be primary because the exact moral/point of story is unclear.
Engaging Plot X
Devil does not exhibit true traits of evilness as would be anticipated. He just has a
harmless temper tantrum and accepts the cat he receives when the mayor outsmarts him.
Condescension X
Includes French devil dialogue, an end note about devils made-up language,
Bellsybabble. Both are so extraneous, difficult to make sense of them in-context.
Believability X
Despite anger, devil just leaves when he is tricked. Mayor initially presented as one who
sleeps sucking on his knee like an infant. But he devises plan to outsmart devil. Devil cites
first person in his deal, so technically a cat crossing should not outsmart his deal.
Precise Vocabulary X
Bugles for musical instrument is only specific word choice. Character actions are
described in the most basic terms (i.e. saw, read, ran, looking, make a bridge, etc).
Repetitive, Rhythmic
Language
X
Repeated character description of mayor M. Alfred Byrne is a redundancy. Devil speaks in
French at the end, with a footnote for the English translation.
Figurative Language X
Single instance. Based on expression that may be unknown to students, so it may come off
as confusing or just redundant: The devil was as angry as the devil himself.
Depth of Content X Devil shouldnt have even been outsmarted by townsfolk he attempts to fool.
Illustrations 5 4 3 2 1 Key Comments
Color X
Pages alternative between gray/yellow and multicolor. Both the townsfolk and devil are
portrayed in both color schemes. Devil is green and pink, which seems friendly, not evil.
Individuality X
Townsfolk with pink rosy cheeks and a plump mayor. Red cats with devil horns are most
creative aspect, but not featured in storyline.
Composition X
When townsfolk gather on bridge, the asymmetry is poignant. Huddled mass of townsfolk
on left and single devil on the right. Main character for each scene usually larger.
Establish Mood X
Cheery colors (green and pink) on devils clothing doesnt present him as a threatening
figure. Cast more as a jester. Townsfolk never seem seriously threatened.
Establish Setting X
Nuns caps, peasant attire, village in background, and rowman on boat (rather than
motorized) suggest a medieval time period.
Interdependence with Text X All illustrations translate scenes described in the text with no additional details.

The Wishing Tree (1964) William Faulkner

Authenticity X
Explicitly stated at end by Saint Francis: if kind to the helpless, dont need a Wishing Tree
for good fortune. Only one instance of cruelty in text: Dickys murder of gillypus.
Engaging Plot X
Search for the Wishing Tree, mystery of Maurice and his sack, rules associated with
wishing make it more sophisticated and interesting (i.e. bad wishes, punished by
shrinking; young/old wish color is pale because undeveloped desire, etc).
Condescension X
Wishes involve guns and swords. Dicky chops up and kills Egberts fantastical creature, a
gillypus, with a stick.
Believability X
Dickys sadistic attack on gillypus is unsubstantiated. Saint Francis is random allusion, but
the foundation of the texts moral.
Precise Vocabulary X Abundant: Nimbly, cunningly, whittle, earthquake, burrowing, etc.
Language
X Fluid and smooth, but not childishly so.
Figurative Language X Imagery and simile (i.e. Hair so red it glowed. Like a goldfish rising in warm water).
Depth of Content X
Magical realism. Suspense. Theme. Metaphoric: Young and old have same color wishes as
portrayed on mellomax tree leaves. Play on expression, Easy as taking candy from a
baby. Creates fantasy world, and events stay within its established wishing rules.
Color X Black and white sketches.
Individuality X The Wishing Tree resembles a regular tree. Gillypus not illustrated. Lacks imagination.
Composition X The Wishing Tree is only illustration that receives a full two-page spread.
Establish Mood X All in same style, so artistic distinctions to convey different moods not present.
Establish Setting X Trees are constantly illustrated, although only the Wishing Tree should be spotlighted.
Interdependence with Text X
Plot points occasionally highlighted by a visual aid (i.e. chocolate cake and strawberries,
Egbert with sword, etc).

The Crows of Pearblossom (1967/2011) Aldous Huxley

Authenticity X Snake v. Crow conflict is at center of storyline, despite its clear operation as a fable.
Engaging Plot X Intriguing effects of Mr. Crow and Old Man Owls fake egg solution to the egg-stealing.
Condescension X Doesnt over-explain the plan to punish Snake.
Believability X
Characters are heavily anthropomorphized (grocery shopping, hair curling, suit-wearing,
etc). Mr. Yosts farm conveniently had a painting table outside.
Precise Vocabulary X
Omnipresent: haggard, convulsions, excruciating, bowline knot, lashing, corkscrewed, vile,
poplar, punctually, irrigated, etc.
Language
X Not muddled with archaic language, but also not abundant in childish rhythm. Smooth.
Figurative Language X Imagery of speckled egg, loud sound of snake rattle, and snakes self-induced knot-tying.
Depth of Content X
Straightforward fable. Mr. Crow belittles Mrs. Crow, ridicules her ideas and accuses her of
overeating. Mr. Crow demands that she keep *her+ beak shut. Sexist. Predictable.
Color X Never captures mood or the inner state of characters, like Mr. and Mrs. Crow.
Individuality X
Modernizes tale with details (i.e. Polenta in shopping basket). Details increase
anthropomorphism (i.e. Snakes dentures, Old Owls bunny slippers, Amelias curlers).
Composition X
Zooms out on bird-filled tree to depict the amount of children. Tree is bigger than both
snake and Crow. Characters often large, close-ups. School in background matches text.
Establish Mood X
Mrs. Crows sadness on a pink background, Crows fight against a green and blue
checkered background. Doesnt convey gravity of emotions. Upbeat colors.
Establish Setting X Far-off school, many takes on crows nest, inside-look at snakes hollow inside the tree.
Mostly just expands the texts anthropomorphism of the characters by adding details
like a watch, an Argyle sock, a pearl necklace that seek to further humanize.

Old Possums Book of Practical Cats (1939) T.S. Eliot

Authenticity X
Poems about different fictional cats, from theater cats and criminal cats to magician cats
and housekeeper cats. Second-to-last poem suggests superiority of cats to dogs.
Engaging Plot X
Thought-provoking. Presents cats from a unique, humanized angle while the text comes
full-circle: how to name a cat = in beginning, how to address a cat = at end.
Condescension X The Railway cat has tea with a drop of Scotch (51). Gin (42).
Believability X
Meditating cats. Gumbie cat baking food for mice, training cockroaches. Growltigers
hatred of foreign cats. Reincarnated Deuteronomy.
Precise Vocabulary X Perpendicular tail, quorum, contemplation, effable, hostile, fortify, baritone, enraptured.
Language
X
Fluid rhymes. Example: She makes them a mouse-cake of bread and dried peas, / And a
beautiful fry of lean bacon and cheese (6). Dense, complex vocabulary at times.
Figurative Language Imagery and similes. Mad as a hatter (1), Jellicles jump like a jumping-jack (18),
Depth of Content X
Color X Black and white.
Individuality X Cats and people are standard portraits.
Composition X One-page spreads confined in a vertical rectangle.
Establish Mood X
Most are happy portraits of cats. However, for the theater cat, lightning, stormy clouds,
and a falling, burning cat Firefrorefiddle elicits a darker mood (43).
Establish Setting X
Household objects and props. For most part, Cat in a vase, on a laundry line, laying by /
jumping up on people suggest common house cats during an earlier time period.
Interdependence with Text X Direct translations of text details.

The Widow and the Parrot (1982) Virginia Woolf

Authenticity X
Mrs. Gage credits her fortune of finding her brothers buried money to her treatment of
his parrot, James: Suchis the reward of kindness to animals.
Engaging Plot X
Slightly predictable. The bird and missing money are the key plot points, so their synthesis
becomes expected.
Condescension X
Mrs. Gage is constantly described as lame, and death is not sugarcoated. Mrs. Gage
doesnt grieve for her brother. Mrs. Gage and the parrots abrupt death (fell off his perch
stone dead) are followed up by hints of their ghostly presence.
Believability X
Mrs. Gages good fortune emerges from coincidences, not from hard work (i.e. burning
house leads her across river, parrot dies immediately when Mrs. Gage dies, etc.).
Precise Vocabulary X Precise vocabulary omnipresent: varmint, aflame, hobbled, alarmed, crept, sagacity, etc.
Language
X
Archaic language and sentence structure (i.e. A great disappointment was in store for the
poor old woman directly she got to Mr Staggs office; Pray take a seat, Madam).
Figurative Language X Imagery, especially when she falls in the mud by the cow.
Depth of Content X Theme: be kind to animals. Plotline is not never-before-seen.
Color X Muted, standard use of color. Lends toward cooler shades.
Individuality X Old-fashioned, straightforward, and sketchy style.
Composition X
Illustrations are enclosed rectangles either on one side of a page (usually the right) or
across the top-half of a two-page spread. Patterned placement emerges.
Establish Mood X
House-burning illustration is overly dramatic, making it appear as if a village not a single
house is aflame and showing Mrs. Gage with her arms extended.
Establish Setting X Old-fashioned clothing, lanterns, horse-drawn carts, farms, etc.
House-burning illustrated on same page Mrs. Gage is guessing the origins of the light, and
Mrs. Gages uncovering of the yellow money rolls illustrated page prior to text description.

Life Doesnt Frighten Me (1993) Maya Angelou

Authenticity X
Not preaching fearlessness, but presenting an attitude, a perspective that encourages
confidence and the value of facing things head-on. Implied by narrator.
Engaging Plot X
More than a list of scary things. Confrontation scene between narrator and scary things.
Classroom exchange (implied note-passing). Cites cause of confidence: magic charm.
Condescension X Acknowledges potential childhood fears, rather than sidestepping them.
Believability X
Balanced presentation of scary things, from unlikely events (ghosts/lions) to relatable,
daily fears: dogs, strangers in dark, classroom boys.
Precise Vocabulary X Counterpane. Describes same action in three ways (not repetition): shoo, run, fly.
Language
X Bad dogs baking loud / Big ghosts in a cloud.
Figurative Language X Imagery. Not figurative language, but literary element: Allusion to Mother Goose.
Depth of Content X
I make fun / Way they run: bullying? Cause/Effect text structure also at play here. Dislike
because says strength means not asking for help: Tough guys fight / All alone at night.
Color X Consistent use of black that is contrasted by sharp blues, reds, and yellows.
Individuality X Characters resemble hunters from Stone Age cave art. Messy, dark, abstract.
Composition X Varied. Interactions between characters are subtle, implied, or direct.
Establish Mood X Chaotic, dark, and abstract illustrations illuminate courage of narrator by being scary.
Establish Setting X
Solid color collages exist at backgrounds. However, this universalizes the narrator (can be
anyone, at any time).
Body language of character on bad dogs baking loud page (hands thrown up in air, like
what do you want?) shows narrator is unaffected by dog. Hands raised on a figure in a
similar fashion depicts different connotation: how a ghost scares. Messy, dark images
throughout, concludes with flowers on final page, Life doesnt frighten me at all.

The It-Doesnt-Matter Suit (1996) Sylvia Plath

Authenticity X
The suits ultimate title, provided in all caps, is the lesson of the story: IT DOESNT
MATTER. People shouldnt worry or care what other people will think of their clothing
choices because most likely, the predicted embarrassment will not be actualized.
Engaging Plot X
Tedious and monotonous after a while. It progresses through six brothers before the suit
is bequeathed to Max, the youngest sibling.
Condescension X Possible over-explanation of the Nix familys unwrapping of the mysterious package (17).
Believability X The origins and sender of the package is unknown. The first name is illegible due to rain.
Precise Vocabulary X Basic: raced, trimmed, snipped, wore, said, etc.
Language
X
Description of suit repeated: the wooly, whiskery, brand-new, mustard-yellow suit.
Repeated process: Mama Nix took a tuck here and a stitch there Emphasized
uniqueness: Such a suit had never been seen before in all of Winkelburg.
Enhance setting. Depict self-consciousness/self-perception of boys: what they would look
like if they wore the yellow suit meadow of sunflowers, streak of lightning, sun
Depth of Content X
Sequence text structure. Third-person omniscient narrator allows for reader awareness of
characters self-conscious and catastrophizing thoughts.
Color X Solid, standard color.
Individuality X Generic people. Dog variations are unique, however.
Composition X
Aligns with predictability of sequence text structure. Circle picture for characters
imagined scenario and subtle variations in portrait of Mama Nixs suit mending.
Establish Mood Bright colors in imagined scenarios do not convey worry or anxiety.
Establish Setting X The fact that everyone wears a suit places the story in an earlier time period.
Interdependence with Text X Captures the scenes as described in the text.

Advice to Little Girls (2013) Mark Twain

Authenticity X Pinpoints bad behavior and offers alternatives.
Engaging Plot X Humorous. Odd alternatives to bad behavior (punish brother with hot water, not mud).
Condescension X
Includes dense, advanced diction, but to the extent that it would be impossible for the
child to understand. May overestimate reader abilities. Briefly cites why one shouldnt do
the bad behavior cited, so reader given his own morality to navigate text.
Believability X
Lists common bad behaviors of children: i.e. stealing desirable toys. Doesnt always cite
best alternatives: burn brother, sass elders only when they sass you first.
Precise Vocabulary X Omnipresent: aggravated, trifling, offense, retaliation, eminently, obtuse, foibles, etc.
Language
X Reads as just a string of complex, precise words.
Figurative Language X Just imagery: If you have nothing but a ragged doll stuffed with sawdust
Depth of Content X
The dos and donts of childhood. Presented through an organized compare/contrast text
structure: contrasting hat you shouldnt do with what you should do.
Color X
Not bold. Mustard yellows, pale greens, grays, and whites. Orange skin. All white
illustration of dinner table is odd. Ghostly appearance and doll-like appearance of mom.
Individuality X Ink-like, blue sketches on pages present appearance of a prior-child readers marginalia.
Composition X
When reader told to listen to mother, mother on own page and is larger than girl and
husband. But blue scribbles that mimic or add to the true illustrations clutter pages with
redundancy and/or add extraneous details (i.e. a dog) to the illustrated scene.
Establish Mood X Angry eyes common to further depiction of bad behavior.
Establish Setting X
The protagonist (the girl behaving poorly) switches inconsistently. Two pages depict same
girl, then she reemerges several pages later. Clothes do indicate an older time period.
Interdependence with Text X Occasionally minor details are added (i.e. dog) that are extraneous to the text.

The Dark (2013) Lemony Snicket

Authenticity X
Do not be afraid of the dark is embedded in the communication behind Laszlo and the
dark and in Laszlos nighttime descent into the basement.
Engaging Plot X
Creates suspense. Trap or comfort: What does the dark want to show Laszlo down the
basement? Basement is traditional setting of evil, however.
Condescension X No evidence of sugarcoating or over-explanation.
Believability X The dark can talk.
Precise Vocabulary X Basic vocabulary: sat, hid, said, looked, closed. Most precise: creaked.
Language
X
Parallel sentence structure used often: Sometimes the dark hid in the closest. Sometimes
it sat behind the shower curtain. Reoccurring objects: window, closet, shower.
Personification of the dark (i.e. dialogue). Enhances personification through simile: The
voice of the dark was as creaky as the roof of the house
Depth of Content X
Moral do not be afraid of the dark arrived at uniquely. Not by showing that the dark
is harmless (the standard method), but by showing that the dark has a purpose.
Color X Minimal color because focus on colors to contrast light (browns, yellows) and dark (black).
Individuality X
Solid black for the dark, rather than shading or texture. Household features (i.e. stars) are
outlines, and Laszlo and dresser are translucent against the solid black backgrounds.
Composition X
Blackness takes over many pages, leaving Laszlo a small illustration, to convey how Laszlo
perceives the darkness (overwhelming, omnipresent, unending).
Establish Mood X Shadows. Flashlight beam. Dark is solid black establish intensity - and sweeps the pages.
Establish Setting X Few, select household objects convey sense of traditional house: universalize Laszlo.
The reason why the dark visits him one night (which is weird, because nighttime is daily)
is not verbally specified, but the fading nightlight in the illustration not only reveals the
reason why it didnt usually come visit him, but the reason why one night it did.

Board Books based on Classical Literature (2 series, 9 Books)

BabyLit (Jennifer Adams & Alison Oliver)
o Romeo & Juliet
o Moby-Dick
o Wuthering Heights
o The Adventures of Huckleberry Finn
o Dracula
o A Christmas Carol
o Jane Eyre

Cozy Classics (Jack & Holman Wang)
o Jane Eyre
o Moby-Dick

Checklist for Effective Board Books
Predetermined Categories
Based on Research
BABYLIT SERIES
Counting Counting Counting Color Ocean Weather Camping
Romeo &
Juliet
Jane Eyre Dracula
A
Christmas
Carol
Moby-
Dick
Wuthering
Heights
Huck
Finn
Text

Few Words
(Page-Turning
Eagerness)
X X X X
Repetition,
Rhyme, Rhythm

Large Print X X X X X - -
Illustrations
Simple X X X X
High Contrast
Colors
X X X X X X X
Plain
Backgrounds
X X X
Solid Colors X X X X X
Predictable
Illustration
Placement
(Harmony)
X X X X
Understands
Common
Interest &
Capabilities
of Babies
Clearly
Recognizable
Objects
- X X X - X -
Everyday
Activities and
Routines
X X

Elements of
Classical
Literature
Allusion
Direct Quotes - - - X X X
Names X X X X X
Reference
Material
X X

Predetermined Categories Based on Criteria Established By:
Ash, V. (2010). What makes a good board book? The Horn Book Magazine, 86(2), 86-91.
Horning, K. (1997). Board books go boom. The Horn Book Magazine, 73(2), 155-160.
Odean, K. (2004). Building a board book collection. The Booklist, 101(2), 252-253.
Emerging Category: Elements of Classical Literature

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Childrens Books that Allude to Classical Literature or Classic Author (12 Books)

1 Picture Book Series (D.B. Johnson)

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