Viva Frida

My favorite time of year has just passed - the announcements of the ALA Media Awards!  I love those few days before the awards are announced, when all over the United States librarians, bloggers, children and adults who love children's books are buzzing about their favorite titles.  Authors and illustrators are hoping their phones will ring at some ungodly hour of the morning.  Mock lists are popping up all around the Internet.  And then I love those days after the winners are announced, as those lucky authors and illustrators who have gotten the phone calls retell how it happened and how they felt, and we all rejoice with them.  I haven't heard how Yuyi Morales felt when she got her phone calls, announcing her as the winner of a Caldecott Honor Award and the Pura Belpre Illustrator Award.  But this book, Viva Frida, is a work of art and magic, and I am thrilled to share it with you!

I will tell you right up front that I was lucky enough to discover Viva Frida this summer, through my reviewing assignment from School Library Journal.  Ordinarily, I would never try to review a book on my blog that I had already reviewed for SLJ.  However, once I read this one, and saw how gorgeous it was, I wanted to write about it here.  It also fits so nicely with my interest in books that represent the Hispanic culture.  And once I knew that SLJ editors agreed with my assessment that this was a truly special book, I had to ask for permission to write about it.  I was so happy that SLJ agreed!

And I intended to write about it long ago, but as often happens around here, other books shouted more loudly than this quiet, dreamy stunner.  I even set it aside two weeks ago, to try and get a review written ahead of the awards I knew it would earn.  That obviously didn't happen either!  But it hasn't been forgotten, and I am taking the opportunity to celebrate it now.

You can tell from the woman gazing serenely from the cover of Viva Frida that this book is about Frida Kahlo. Many of the hallmarks are present in that initial shot - her monobrow, her bright, festive clothing, the knowing gaze, papel picado, and updone hair.  The cover image is of Frida, alone and isolated, on a background of scattered flowers.  But while she is alone, her eyes meet the reader's gaze, and you can tell that her secret life comforts her.

The magic starts right from the cover illustration.  By the way, I want to thank Roaring Brook Press for including the list of media Yuyi Morales used in creating this title.  There is no way I could have guessed at all of the techniques she used, including: "stop-motion puppets made from steel, polymer clay, and wool, acrylic paints, photography, and digital manipulation."  Those of you who are regular readers of my blog know that I am fascinated by the art used  to create books, and this one is no exception.  The cover model of Frida is a puppet, but again, her gaze is so human, so present.  It is uncanny.

I am really going to try not to describe every page to you in this post.  It's difficult because they are so layered, so glorious.  It is also difficult not to want to describe each page's illustrations because that is where so much of the plot takes place.  For example, the title page shows Frida's desk, with a sketch, little stoppered bottles, an unfurled piece of leather and brushes. Also, just peering over the top edge of the desk is an inquisitive monkey, holding out a silver key in an enticing manner.  The monkey could be stealing the key off the desk, or holding it out for Frida to take.  Regardless, it is there that the "story" begins. 

As I mentioned before, the story line is primarily conveyed visually.  The text is bilingual, and comprised of "I statements" about Frida and her drive to create.  It is spare, with only two or three words per double-paged spread.  The text draws you into Frida's mind, heart and soul.  "I play/I know/I dream."  The text is poetic, and floats in space visually, leaving the reader plenty of room to admire the result of Frida's creativity.  The English words are in a heavy black font, with the Spanish equivalent hovering above in a ghostly gray or white.  The effect is dreamy.


To add to the text are Morales' illustrations.  For those of us familiar with Kahlo's life story and artistic themes, the book is instantly recognizable.  Diego Rivera is shown working in his overalls, sharing an artistic space with her.  As Frida explores her own creativity, you see her animals surrounding her, playing with her.   At one point, she and that endearing monkey get out a skeleton puppet to play with, as that monkey tangles in the strings.  Halfway through the book, at the moment when the text reads "Sueño= I dream", the art changes.  In the first half, the illustrations are clearly realistic representations of Frida's life.  Frida and Diego are puppets and their studio space and actions are clearly based in the tangible world.  But as soon as Frida begins to dream, things shift.  Frida's eyes are closed, and her animal companions stare transfixed at painted versions of Frida soaring above her own dreaming head.  As the pages continue, more and more of each spread is created through paintings.  The soaring Frida sees a fawn whose leg has been pierced by an arrow.  She swoops down to rescue it, and of course it returns to her "real life" with Frida, to become part of her menagerie.

In one of the last spreads, Frida says "que amo = that I love".  It is my favorite picture - Frida's eyes are closed in contentment, Diego kissing her on the cheek while the animals also look on in adoration.  And because Frida loves, she also creates, something that is so engrained in her soul, in her personality.  Frida is creativity.

There is an author's note at the end of the book, called "My Frida Kahlo".  It is written in both English and Spanish.  I love this author's note because I think it brings Kahlo's deeply thematic, layered work to life for young readers.  Morales admits "When I was younger, I often found her paintings tortuous and difficult to understand."  That simple statement allows readers to realize that admiring someone's art doesn't mean you always have to understand it.  Morales gives some basic facts about Kahlo's life and art in this note before showing how much Frida Kahlo inspired her: "Did she know how many artists she influenced with her courage and her ability to overcome her own limitations?"

Another thing I love about this book is its flexibility.  For those who know nothing about Kahlo's life, it can stand as poetry, as a self-affirmation.  It can be shared with young readers as part of an art appreciation unit, or during Hispanic Heritage or Women's History Months.  But for the older reader in a high school art class, or for someone who has studied Frida Kahlo's biography, the book really shines. There are so many layers to the art included here, so many things to discuss in the words and pictures I could go on and on.  It is so lucky for all of us that Yuyi Morales chose Frida Kahlo new life here.  It is magic you'll never forget.

Viva Frida.  Yuyi Morales; photography by Tim O'Meara.  Roaring Brook Press, 2014.

sent by publisher through School Library Journal

The Cazuela That the Farm Maiden Stirred

Seems like I have quite a few picture books to blog about - get ready for some posts on great books, both old and new!  And in the pipeline is another Alice book blog and some nonfiction picture books too, so there's a lot to look forward to this fall!

I think you can tell by now that I have a fondness for Hispanic authors and stories (If you haven't thought about that before, there's reviews here and here.  I've lived in San Diego and the Phoenix area, so I am definitely interested in talking about these books and seeing them succeed.  So I'm here to introduce you to one of the books that has already been mentioned as an outstanding picture book this year.  I'm hopeful it will at least win a Pura Belpre award, if not a Caldecott, too!

The Cazuela that the Farm Maiden Stirred is set up in a cumulative rhyme pattern.  I know preschool and primary grade teachers salivate when they hear that a new book is written in a cumulative pattern.  At my old library, we put together themed boxes of books for teachers.  We dreaded seeing "cumulative books" on the request slip.  There is no easy way to search for these books since there isn't really a subject heading.  You would have to rely on web bibliographies or your own memory to find these books.  For those of you who might not know what a cumulative book is, it's a book that is constructed like the nursery rhyme "The House that Jack Built", where things are added on with each stanza, but the stanza is primarily a retelling of everything that's come before.  It's always worth mentioning when a book works successfully in this pattern.

It begins, of course, with the farm maiden, who is leaping on the title page as she begins the stirring.  Each page introduces both an animal and the ingredient they are adding to the pot in English (the majority of the text is in English).  On subsequent pages, the animal and the ingredient are incorporated into the text in Spanish.  Vamos uses the text itself to emphasize the Spanish words - each noun is at the end of a line, formatted in bold, larger text.  It draws your attention to the Spanish vocabulary.  For non-Spanish speakers, there is a certain amount of comfort in the fact that they have already seen the word in English.  That way parent can point to the animal or ingredient when it is repeated in Spanish.  Also included for non-Spanish speakers is a glossary with pronunciations located at the end of the story.
Speaking of the end of the story, once all of the animals (and a farmer) have added their ingredients to the farm maiden's pot, they have made a traditional Hispanic dish, arroz con leche.  All the animals, farm maiden and farmer enjoy it together in what the jacket flap calls "a bilingual celebration of community and food".  It truly is a celebration, and all of them have given their time and work to make this delicious dish.  Vamos has also included a recipe for arroz con leche (good to know for schools or families who like to present a book and then cook together).

But as much fun as the rhyme is, the illustrations take its exuberance to a higher level.  Lopez chose warm yellows, browns, oranges and reds that evoke a desert landscape.  There is so much to look at in these illustrations for viewers.  There are animals everywhere, interacting with each other in funny ways.  The goat wears a large chef's hat as the cow gives him instructions as the farm maiden milks her.  As the arroz con leche cooks to its finale, all the animals peer longingly into the pot.  The farmer and farm maiden's clothing and home add to the rustic feel of this book.  Everyone is happy to work together and equally happy to eat up their hard work.  Texture is drawn into the illustrations with swirls, dashes and dots.  However, Lopez also uses the background texture of the grained wood he created his paintings on to good effect.  He is expert at evoking smell, movement and emotion in his art.
This book is luscious and highly recommended.  I only hope the committees appreciate this as much as I do!

The Cazuela that the Farm Maiden Stirred.  Samantha R. Vamos; illustrated by Rafael Lopez.  Charlesbridge, 2011.

borrowed from Lewis & Clark library