The Aesop Prize and Aesop Accolades are conferred annually by the Children’s Folklore Section of the American Folklore Society upon English language books for children and young adults, both fiction and nonfiction. Nominated books, which must be published in the year of the deadline or the year before, must be received by committee members no later than August 15. The winning books are announced at the annual meeting of the American Folklore Society each October.

A list of past Aesop Award and Accolade recipients is below.

Prize Review Criteria

• Folklore should be central to the book’s content and, if appropriate, to its illustrations.
• The folklore presented in the book should accurately reflect the culture and worldview of the people whose folklore is the focus of the book.
• The reader’s understanding of folklore should be enhanced by the book, as should the book be enhanced by the presence of folklore.
• The book should reflect the high artistic standards of the best of children’s literature and have strong appeal to the child reader.
• Folklore sources must be fully acknowledged and annotations referenced within the bound contents of the publication.

Please submit a copy of each nominated title to each committee member. Aesop Prize Committee members for 2014 are:

• Anne Marie Kraus, Chair, 1716 Gleason Avenue, Iowa City, IA 52240
• Suzy Grindrod, 2030 Carey Ct., Madison, WI 53704
• Terrell Young, 7059 University Station, Provo, UT 84602
• Kevin Cordi, 643 Nashoba Ave., Columbus, OH 43223

Please direct questions about the Aesop Prize and Aesop Accolades to aesop.prize@gmail.com. 

Aesop Award and Accolade Recipients

 

2013 Aesop Prize

 

Looks Like Daylight. Deborah Ellis. Toronto: Groundwood Books, 2013

Looks Like Daylight is a collection of first-person accounts of Native North American young people, documenting the challenges of living in the parallel worlds of cultural tradition and twenty-first century pressures. The stories are at once heartrending and inspiring, offering a very useful anthology for young adults.

To compile the narratives in this book, Deborah Ellis traveled around the continent of North America and interviewed forty –five young people about their experiences growing up Native American/Aboriginal. The narrators range in age from nine to eighteen years old. Ellis gives a brief introduction to each of her subjects, and then allows them each to tell their story in their own words.

The children do not shy away from talking about the myriad social ills that plague so many of the indigenous communities in the United States and Canada -- the high poverty, alcoholism, drug abuse, and suicide rates, as well as the residual effects on families of forced attendance at residential schools, and later the institutionalized kidnapping of Native children to be placed into the white foster care system – but remarkably, there is a strong undercurrent of hope running through most of the interviews. Ellis makes it clear that, while some of these young people have lives that are extremely difficult, they do not intend to allow hardship to be their identity.

The children have found connection through education and community involvement. For many of them this includes embracing cultural traditions that have been maintained despite longstanding efforts to suppress and eradicate indigenous culture throughout the United States and Canada. Many of the youth are dancers. Others are learning their native language, practicing traditional art forms, or hunting and gathering food in the old ways. They are well versed in their heritage, but do not think for a minute that they are going backward; their feet are firmly planted in the 21^st century, like 14-year old Tulane, who lives on the Navajo reservation and creates traditional images using acrylic paints and Legos, or 12-year old Cuay who participates in the fastest-growing sport on Native American reservations – skateboarding!

It is a lovely bit of synchronicity that Looks Like Daylight was published so close to the birth of the Idle No More indigenous people’s movement. Both are celebrations of the incredible diversity of North America’s aboriginal populations, and the tenacity of the human spirit. As Cuay says, "I’m more Ojibway than American. The white Americans have wanted to get rid of us for hundreds of years, but we’re still here.” I very much look forward to a world where these young people come into their own.

2013 Aesop Accolades - 3 titles:

Parry, Rosanne. Written in Stone. New York, New York, Random House, 2013.

At a time when some middle school novels take a precursory approach to using folklore and folktales in their work, it is refreshing to read Parry’s, Written in Stone. This work does not merely mention folk customs in a non-descript way or speak generally of Native American legends, instead this novel employs folk customs and folklore at its core.

The birth of this story is attributed to her students on the Quinault Indian Reservation in the Pacific Northwest. As a fifth-grade teacher at Taholah Elementary, her students had asked why their story not represented in books they read. This work is her response.

"Already having suffered the loss of her mother to the flu pandemic of 1918, Pearl tries to learn her mother’s skill as a weaver, but lacks someone to guide her. The Makah come from a whaling tradition which is faltering due to non-native whale hunters slaughtering many whales. The latest whaling expedition ends in tragedy: armed only with a harpoon and a canoe built for eight, the water violently takes Pearl’s father, leaving her an orphan (although the Makah have no word for orphan).”

She chronicles the story of a Makah orphan girl’s struggle to belong and be a worthy contributor to the Makah tribe. The Makah come from a whaling tradition although they are no longer around because among other reasons non-native whale hunters slaughtered many of them. The latest whaling expedition left her without a father. Armed only with a harpoon and a canoe built for eight, the water violently takes him leaving Pearl as an orphan (although the Makah have no word for orphan). As she struggles to contribute to the Makah way of life, she tries weaving but she does not have a teacher. Her mother was a gifted weaver but she died from flu pandemic in 1918.

At 13, she has been accustomed to a position of high honor, but with the loss of her father, the tides shift. The water no longer brings whales and the Makah fight to survive. The water brings poachers disguised as art admirers of the Makah’s ceremonial garb, including masks, carvings and her father’s precious Raven dress. The dress is in honor of the mythical trickster Raven.

Culture clashes ensue as we witness Pearl Carver and her tribe tangle with white man’s tomfoolery and outright lies. We see the need for the community to transform from a whaling community to something more. We hear the arguments for and against change set against the backdrop of a deep appreciation for tradition and culture. Parry shows the manipulative methods to usurp the land by the White man. She speaks to past events where lands and people were erased or had to move, but amidst this chaos there is reverence for old ways, elders, and traditions such as honoring the creatures of the water and drumming.

It is also a story of becoming. At first young Pearl simply pens the names of her family, but soon realizes it through words that she preserves her tribe. She states, "I could be the teller now. I could make his life (her father) real. I could raise him out of the water with words.”

When cultures are forced to change, people doubt and the Makah have their doubts about their future. We see her strong-minded cousin straddling the white and native worlds. We hear racism when her family travels to sell clams, but we also witness the keen bargaining strength of her grandfather.

Her Aunt Susi plays a drum although women are not expected to in this Native community. Pearl answers to another drummer. She plays until she finds her voice. We also watch her advocacy at thirteen grow when we see young Pearl as a grandmother. Using flashback we travel through time witnessing her passion and strength enriching as she ages.

Parry pays tribute to a people she admires in this narrative. Although it is a fictional account, there are numerous references to the people, land, and customs. Perhaps the greatest tribute she provides is a call for someone from the Native people to write a book that tells the story from a native perspective.

This story will not only inspire more curiosity of the Native tribes in and around the Olympic Peninsula, but also provide teachers a rich history of the Makah way of life.

 

Weulersse, Odile. Nasreddine. Illustrated by Rebecca Dautremer. Grand Rapids, MI: Eerdmans Books for Young Readers, 2013.

The gentle tale of Nasreddine unfolds in an exquisitely illustrated picture book, offering its wisdom to readers of all ages. The boy, Nasreddine, and his father work companionably to bring their rural wares to market in the Middle East. The patient father allows his son to learn in his own way, making this story one of those gems which teach without being didactic. Tales of Nasreddine are based on a real Turkish man who lived in the Middle Ages, and the tales continue to evolve throughout the Middle East.

The episodic nature of Nasreddine captures the rhythm and flow of life, and provides a recognizable pattern that makes folktales so alluring to children. Four times, Nasreddine and his father, Mustafa, set out for the city gate, loading their market items onto their donkey. The problem arises when onlookers take note of the manner in which they are traveling with their donkey, and voice their criticism of the boy and his father. Each time, the sensitive son blushes, and tries to change things around to avoid more embarrassment.

The first time, Mustafa rides upon the donkey, and Nasreddine walks behind. A vizier decries the lazy father who tells lets his son suffer in the mud. The next time, Nasreddine feigns a twisted ankle so that he can ride while the father walks. A group of women remark that elders have no respect anymore. The third time, Nasreddine suggest that they both ride, and are subjected to disapproval for overloading the donkey. The last time, both father and son walk next to the donkey, enduring the jeers of children. The mortified Nasreddine tries one more time, suggesting that they carry the donkey. That’s when Mustafa smiles and has a little talk with his son. Mustafa leads his son to his own realization: "I understand! You can’t be afraid that other people will judge you or make fun of you.”

The text and illustrations of Nasreddine evoke the atmosphere and setting of the Middle East. Illustrator Rebecca Dautremer’s palate of sienna, rust, and red set the mood in this arid setting. The somewhat stylized drawings provide touches of authenticity in the clothing and architecture. Details such as the boy’s drink of camel’s milk with cinnamon provide a sense of regional smell and taste. Text and art marry, providing a gentle yet distinct sense of character and place.

The language in Nasreddine includes a pattern that sums up so much of what this tale is about. "As you wish,” says the son to the father, and the father to the son. In so saying, the boy shows his father respect, and in turn, the father indicates his wise patience with his son, as the boy tries to puzzle out his discomfort and his predicament. Each time Nasreddine tries out a new scenario with the donkey, the father says, "as you wish,” allowing the boy to learn through experience. The father does not dictate or judge; he lets the boy try it out for himself.

This ancient tale has much to offer the modern world. It shows judgment for what it is: criticism from all corners, regardless of what you do. It teaches us to look within ourselves, and find integrity.

Goldman, Judy. Whiskers, Tails & Wings: Animal Folktales from Mexico. Illustrated by Fabricio VandenBroeck. Watertown, MA: Charlesbridge, 2013.

Whiskers, Tails & Wings: Animal Folktales from Mexico is a collection of five tales representative of five distinct indigenous groups in Mexico. Each tale is accompanied by a thorough narrative description of the cultural group, including geographical, landform, and climate information, as well as lifestyle and customs. Also included are a glossary for each tale, multiple citations of source material, and a general bibliography. The tellings are engaging, particularly for children in the middle elementary grades. One full-page illustration introduces each story, and several smaller drawings are interspersed with the background information on the regional people.

Whiskers, Tails & Wings brings to light the astonishing variety in cultural groups that are largely unknown by most of us. The author points out that, while many people are familiar with the Aztecs and the Maya, there are sixty-two specific groups, with many languages and traditions. Judy Goldman has chosen five of these: the Tarahumara, the Seri, the Huichol, the Triqui, and the Tseltal. All five tales are pourquoi tales, and trickster elements are also woven in. The stories themselves are also unique; some are not easily found elsewhere in general publication, thereby offering a unique addition to the body of folk literature for children.

In the Tarahumara Tale, "When Senior Grillo Met Senor Puma,” Puma declares war on Grillo (a cricket). While Puma drafts other fearsome creatures, Grillo thinks up a crafty way to win: he enlists angry wasps, waiting inside gourds. Since that time, crickets sing a victory song every night. "Mosni’s Search,” a Seri creation tale, employs the earth-diver motif. The god of creation asks the sea creatures to dive to the bottom of the sea and bring up sand. After several animals are unsuccessful, Mosni the sea turtle brings up a few grains of sand, which become the land, and she is the first to walk upon it. "Tlacuache’s Tail,” from the Huichol, is the story of why Possum’s tail is hairless, and also about the coming of fire. In "Ouch!” from the Triqui people, the God of Creation makes fleas, which cause lazy Man and Woman to get up off their backs and do work in the world. "Pokok Up High,” from the Tseltal people, explains why frogs have flat bodies: Pokok the frog takes a ride on Buzzard’s back, but complains about the stench, and gets himself thrown off the flight. Spirited characters and humor enliven the tales.

Goldman’s love of Mexico’s rich heritage shines through in every aspect of this collection. The background material demonstrates the uniqueness of each region, and there is an underlying sense of honor for each cultural group. The tellings reflect playfulness and well-drawn characterization. Whiskers, Tails & Wings is a welcome addition to published folklore for children.

2012 Aesop Prize

Which Side Are You On? By George Ella Lyon, illustrated by Christopher Cardinale. El Paso, TX: Cinco Puntos Press, 2011.

 

The urgency and bravery described in Which Side Are You On is at once both historic and contemporary. This picture book recounts the desperate circumstances that prompted the writing of a pivotal song of the labor movement in Kentucky in 1931. Author George Ella Lyon, and illustrator Christopher Cardinale, do a masterful job of portraying the historic setting and the unsung heroes of the coal miners’ strikes in the 1920’s and 30’s. And yet, by bringing this era into sharper focus, Lyon and Cardinale bring the realization that folk song is ever relevant in contemporary society. This book showcases a classic example of folk song, while simultaneously providing the context in which this song for social change took root. Social unrest, and the desire for justice, provide fertile ground for the flourishing of folk music as the voice of the oppressed. By describing the development of this song, Lyon and Cardinale remind us of its relevance today.

 

This is mainly the story of how Florence Reece wrote the song, "Which Side Are You On,” during one terrifying night, when the "gun thugs” (hired by the mine owners) were firing bullets into her home. Reece’s daughter narrates the scene, describing the way her six brothers and sisters cowered under the bed. Reece had gotten word to her husband (a mine worker and union organizer) not to return home, and to hide out. Amidst the questions bursting from the children under the bed, Ma tells them, "This ain’t easy, but sometimes you’ve got to take a stand.”

 

But this book is so much more than the story of Ma writing the song on the back of a calendar page, riveting though it is. The narrative simultaneously weaves three main threads into a cohesive flow: the unfolding plot in Reece’s home, background information on miners, and the lyrics of the song. Using an economy of words, Lyon imparts a surprising amount of information, in a child’s language. Readers learn about the grueling work of a miner, the meaning of a "company town,” payment in "scrip,” the meaning of a strike and a scab, and the reason a union is needed to set things right. The song lyrics visually swirl on intermittent pages.

 

The extensive author’s note provides even more information on the history, as well as reflections on folk music and the folk process, then and now. Cardinale, an accomplished cartoonist, achieves a style of illustration that captures the rough-hewn quality of the setting, evocative of woodcuts. Illustrations and text work cohesively to portray a mood, not only of the violence, but of the resolve and love and solidarity of the family and the union.

 

Visualize the scene: Disenfranchised by those in power, the common people rise up to face their oppressors. These brave souls are armed with a powerful tool: the rousing refrains of a song. The music stirs their hearts and feeds their spirits, as they gather in strength and resolve. Does this scenario sound familiar? We hear about such uprisings and rallies on the news frequently. The use of folk song as a vehicle for righteousness is grounded in history, and those songs, old and new, still ring out today. Lyon and Cardinale have crafted a book that reminds us of that.

 

2012 Aesop Accolades

 

Burkert, Rand. Mouse & Lion. Illustrated by Nancy Ekholm Burkert. New York: Michael di Capua/Scholastic, 2011.

 

When we teach children about folklore, it is essential to help them understand that as tales are passed on from person to person, they are changed by each storyteller. In retelling a traditional tale, orally or in writing, the storyteller applies his or her own personal style and creates a new version to be enjoyed by listeners and readers. If done well, the "old” tale is rejuvenated, yet maintains the timelessness of all good stories.

 

In Mouse and Lion, a version of the familiar Aesop fable, Rand Burkert achieves this in several ways. First by giving the mouse character top billing, as he notes in his afterword " . . . Mouse clearly performs the lion’s share of the work.” In Mouse, Burkert has created a lovable and comical character full of pluck. He moves the story right along with his scampering and frenetic thinking as he persuades Lion to spare him. Lion is as amused by this lovable creature as we are and so allows his journey, as well as the story, to continue. Burkert defines the two characters with very few words within the first few pages, continuing with wonderfully easy pacing. A lovely, Zen-like ending showcasing Lion’s new appreciation of small creatures replaces the standard moral we usually find at the end of many interpretations of Aesop’s fables. Burkert has also made the tale unique by setting the story in the Aha Hills, bordering Botswana and Namibia, a habitat where the African mouse, lions and baobab trees are found together. Perhaps what comes through most clearly in Burkert’s version of the fable is his reverence for animal wisdom, something he credits to Aesop: " . . . a composite of many of our responsible ancestors”. This is the tradition he carries on, while at the same time creating a new tale to take its place among other versions.

 

Nancy Ekholm Burkert, one of the most accomplished children’s book illustrators of our time, certainly doesn’t disappoint with this, her latest masterpiece. Her exquisite attention to detail is nothing short of breathtaking. She has rendered every hair, whisker and blade of grass with purpose and grace. Pale blue renderings of Mouse working hard at chewing through the rope trap cleverly depict just how long the little mouse had to work to free Lion. Her final double page spread is a beautiful interpretation of Lion’s newfound appreciation of his tiniest subjects. In the illustrator’s note we learn about the extensive research that went into her artwork. Her acknowledgements credit a full cast of researchers and experts, including the indigenous peoples of the region, who helped her study not only the physical characteristics of her starring character, the African grass mouse, but also its lifestyle, habits and natural environment. Such extensive information about the research that goes into the illustrations of a children’s book is a rare treat, indeed. With the tremendous amount of care Nancy Ekkholm Burkert put into this work, her illustrations are as significant an interpretation of the fable as is the text. Together this mother and son team has crafted a masterpiece of storytelling.

 

Walters, Eric. The Matatu. Illustrated by Eva Campbell. Victoria, BC: Orca 2012.

 

The Matatu journeys through contemporary Kenya, guided by a wise Grandfather who recounts in picture book form a sometimes humorous, sometimes contemplative tale to his five-year-old grandson, Kioko. As readers, we climb aboard this wonderful, traditional public bus-like vehicle called The Matatu with Kioko and as it travels, we experience the rich story. For his fifth birthday, Kioko’s grandfather, who is an elder, a teller of stories, and a father to 11 children and grandfather to 37 takes Kioko on the Matutu.   Because the Matutu moves at a slow pace, and in order to pass time, his grandfather tells a story. The story begins when Kioko asks why dogs are following the vehicle. The grandfather, part humorist, part wisdom keeper reveals the answer through his rich tale-telling ability.

 

We learn early that Kioko is a literal-minded thinker. This is clearly evident with the surprise ending that Walters uses to show how deeply Kioko was listening to the tale. Walters uses the dialogue between the grandfather and grandson to invite readers to experience both the trek of the Matatu and the folktale.  Specifically, his revealing tale speaks to the issue of justice and fairness. The grandfather, in his own pace, shares why dogs chase the Matatu. But young Kioko questions the story that serves to be an anchor point for an on-going dialogue between the two. Each passenger also listens to the grandfather’s story because he tells it with power recognized as an elder storyteller. Walters creates a travelogue of this journey and reminds us the Matatu mirrors life. As he notes, "both (the rider and the tale) are a journey filled with bumps, dust, unexpected turns, and risks. The story’s secret is to sit back and enjoy the ride.” And enjoy it we do.

 

Set in East Africa, the earth-rich oil paintings of sunny Kenyan villages by Campbell mirror the trip as she outlines the human journey. Each page is illustrated in rural images, peppered with goats and chickens riding on top of the Matatu. However, as the tale is revealed the animals take on anamorphic form. The animals are painted in a humorous almost cartoon style. This deliberately helps separate the time between telling of the tale and riding in the vehicle.

 

Like an old folktale, each traveler on The Matatu is wiser for taking the ride. There is a delightful mix of folktale, urban legend, and real time tales. The conversation between grandfather and grandson is lively and upbeat. The grandfather takes on the mantle of a learned storyteller as he teaches his grandson an urban tale. The source note reveals the author was recently made an honorary member of the Kamba tribe. With the honor told in this tale, we have a hint as to why.

 

McLaughlin, Timothy P. Walking on Earth & Touching the Sky: Poetry and Prose by Lakota Youth at Red Cloud Indian School. Illustrated by S.D. Nelson. New York: Abrams, 2012.

 

This book reads like a finely woven tapestry.  Each poem and painting visually portrays a rich narrative of what life is like for current youth on the Pine Ridge Indian Reservation.

 

The artwork by S. D. Nelson draws the readers immediately to the images. The rich paintings, mostly acrylics, from Nelson, a member of the Standing Rock Sioux Tribe, are stunning. As he notes, "For my Lakota people, the spirit world is as real as the physical world. We humans can touch both…” His paintings ask the viewer to grasp the world he is painting. Whether it is a Lakota form of dance such as a "thunder dance” or the captivating image of the defeated Indian entitled End of the Trail, each image is powerful. The bold and bright colors are reflective and the captions underneath help mark the time in Lakota history.

 

These rich images are echoed by the diverse poetry inscribed by fifth, sixth, seventh, and eight grade students from the Red Cloud Indian School, housed on a reservation in South Dakota. The editor McLaughlin notes, times at this school can be "difficult and complex.” We witness this as we read the poetry of the young students who show their wisdom through the language of the verse. As noted in the introduction, "The Lakota People, like many native tribes, have an intricate and fascinating history.”  This is revealed through the students’ poetry covering such topics as the natural world, the misery displayed by some Lakota and the value of silence and the spirit. Still we also hear of the dreams of these youth in poems such as, "Still I dream” by poet Chanelle Douville and "Dreams of the Babies” by Stephanie Sully. The poems range in subject matter. There are personal poems about feeling wanted such as Rayleen Bickerstaff’s "Still I’m Loved” to faith poems about the existence of God in Anna Diaz’s "Vision of God.” Read as a collection these poems share a powerful current story of life on the reservation.

The author details how it took time to build a safe place for these students to express themselves, but once they did, "…the students engaged with writing, their creative voices appeared and began to mature.”  It is sometimes heartbreaking to hear about the trials and troubles of these youth, but other times, reassuring when one reads the maturity of their thoughts and vision in poetic form. Reading these poems displays an acute awareness of life on the reservation. Most of all, these poems come from authentic sources and display a vibrant sense of honesty as they are read. 

 

Holding the poems and the images together is the editor’s rich commentary. As Sincangu Lakota Joseph Marshall notes in the forward, "too many times we grownups overlook the feeling and opinions of youth…”  This book accentuates their voice. The commentary serves to set the tone for the poems being discussed.

 

Too often teachers use older texts to teach about Native Americans.  However, this anthology illustrates current ways of life from a youthful perspective. The voices are alive. They are powerful reminders of current and past practices and beliefs of the Lakota. Educators and librarians will find this book a useful and viable resource to keep in their collections.

 

2011 Aesop Prize

2009 Aesop Prize

Dance, Nana, Dance (Baila, Nana, Baila). By Joe Hayes, Illustrated by Mauricio Trenard Sayago. Cinco Puntos Press, 2008.

This colorful bilingual anthology of thirteen Cuban folktales has sabor, the flavor of the Caribbean, bringing the rich mixture of Spanish, African, and American influences to his readers. Cuban folkloric wisdom and wit fill these pages. There is a rhythmic quality to the linguistic expression in both the English and Spanish narratives, reminiscent of the importance of rhythm in the Cuban way of life. The title tale celebrates the central role of music on this Caribbean island. Twin boys play drums and sing, while a sorceress cannot help but dance until she is exhausted, enabling the boys to capture fire and bring it to the people. In The Gift (El Regalo), Hayes retells a patakí, a teaching tale about the Orishas, or the holy ones of Santería, which is the Afro-Cuban religion. Obbara, the most humble of the Orishas, is acknowledged for his ability to reveal the true worth of whatever gifts one receives in life, even if it is concealed in something that appears to have no value.

Joe Hayes based his retelling of the tales on manuscripts Cuban storyteller and musicologist Martha Esquinazi generously shared with him. His delivery exhibits his subtle sensibility and warmth for the people and folklore of Cuba, opening the way for cultural understanding to his audience. Whether in Spanish or English, the storytelling is engaging. Because the texts in the two languages are remarkably parallel, they render reading the tales a bilingual learning experience. This consistency in expression encourages language learners to acquire new phrases as well as new cultural perspectives. The illustrations by Cuban-born Mauricio Trenard Sayago, not only reflect the influence of the folk art of his native island, but also add potency to messages of the tales. The dynamic images convey his profound belief in the power of art and its ability to educate and transform the individual and society.

The Kalevala: Tales of Magic and Adventure. Adapted by Kirsti Mäkinen. Illustrated by Pirkko-Liisa Surojegin. Translated by Kaarina Brooks. Simply Read Books, 2009.

The Kalevala, the national epic poem of Finland, is presented in a hefty, lavishly illustrated prose narrative of twenty chapters, interspersed with poetic sidebars providing a more literal sense of the poetic form of the original. The narrative structure closely follows the fifty cantos, or runes, of Elias Lönnrot’s 1849 edition, which he pieced together from thousands of variant folk poems into a single epic format. This new prose edition, translated from the Finnish, makes the classic work available to a new generation of English-speaking older children and young adults, recommended for ages 10 and up. The richly detailed illustrations draw heavily on authentic artifacts of traditional Finnish material culture to give visual clarity to unfamiliar details of the tale.

The epic begins with the creation of the world from water and air, and then soon moves to the birth of Väinämöinen, shamanistic singer and magic worker, and his part in shaping the land. Väinämöinen’s later exploits dominate a major portion of the epic, including singing duels and magic challenges, his unsuccessful searches for a bride, and his friendship and rivalry with the great smith Ilmarinen, who forges the magic Sampo, a mill that grinds endless riches of flour, salt, and wealth as a bride-gift for Louhi, mother of the beautiful maid of Pohjola. Intermingled are tales of other heroes, wonders, and tragedies. This version is far more extensive than the 1996 Aaron Shepard poetic retelling in picture book format, The Maiden of the Northland: a Hero Tale of Finland, itself recognized with an Aesop Accolade, which more narrowly focuses on the making of the Sampo and Väinämöinen and Ilmarinen’s rivalry.

Although its influence in Scandinavian literature is widespread, The Kalevala may be less well known to many English-speaking readers than classic works of Greek, Roman or Norse mythology or the epic poetry of Homer or Beowulf, but its impact on modern fantasy is significant. An important source for J. R. R. Tolkien, this retelling will appeal to readers (or viewers) of The Lord of the Rings and especially the Silmarillion, which stylistically resembles The Kalevala. The sometimes-dramatic, sometimes-prosaic illustrations make it more accessible than other recent translations to a visually oriented audience who may be intrigued by the northern European roots of the high fantasy tradition. Mäkinen, Surojegin, and Brooks are to be commended for filling a significant gap in Scandinavian folklore retold in English for older juvenile and young adult readers.

Naupaka. By Nona Beamer. Illustrated by Caren Ke’ala Loebel-Fried. Translation from the Hawai’ian by Kaliko Beamer-Trapp. Music by Keola Beamer. Bishop Museum Press, 2008. (Includes audio CD).

Nona Beamer, an iconic figure of the Hawaiian cultural renaissance, skillfully retells the locally well-known legend of Naupaka, artfully enhanced by Caren Loebel-Fried’s stunning block print illustrations. The picture book, presented bilingually with parallel English and Hawaiian texts on the same page, tells of two lovers kept apart by the rigid strictures of traditional pre-contact Hawaiian social structure. Naupaka, a princess or member of the ruling ali’i class, falls in love with a commoner, Kau’i. Her parents tell her to consult the kúpuna, the village elders, to determine the lovers’ fate. They refer the decision to a distant kahuna, a religious leader, who defers to the judgment of the gods. When a lightning bolt signals that the lovers must be parted, they sorrowfully concur, with Naupaka remaining in the mountains and Kau’i returning to the seashore. The tale is told to explain the origin of two varieties of scaveola, a flowering plant known in Hawai’i as naupaka. An indigenous variety grows on the coast, in Hawai’i and elsewhere, while the mountainous variety is endemic, found only in Hawai’i. Each bears a white half-blossom, signifying the parting of the lovers.

"Auntie" Nona, who died last year, learned Hawaiian oral tradition and dance from her grandmother. She was a member of the Beamer family, known for their extensive role in keeping Hawaiian culture alive during generations when it was suppressed. Cited as &educator, composer, storyteller, chanter, kumu hula, cultural expert and matriarch of one of Hawaii's most beloved musical families," she won the Pacific Business News’s Gladys Kamakakuokalani Ainoa Brandt Kupuna Award in 2008. Naupaka, released shortly after her death, reflects her care not only in retelling the story, but in providing cultural context, botanical details and sources for further research. Artist Lobel-Fried, herself a storyteller, has retold and illustrated several works of Hawaiian legend, often with Auntie Nona as collaborator. She states that her "intention and greatest challenge as an artist and reteller is to give voice to the legends while remaining true to the source." Her distinctive visual style succeeds admirably. Noted slack-key guitarist Keola Beamer provides a musical background to his mother’s reading of the Naupaka story on an enclosed CD, taken from their 1997 CD collection of stories, The Golden Lehua Tree.

2009 Aesop Accolades

The Barefoot Book of Earth Tales. By Dawn Casey. Illustrated by Anne Wilson. Barefoot Books, 2009.

British storyteller Dawn Casey delights us in presenting a highly approachable book that inspires readers to appreciate more fully the world around them and marvel at the multicultural stories and legends that shed such wisdom on environmental themes. Casey has chosen for this anthology seven classic multicultural tales, retelling them in a refreshing and detailed way that fully engages the audience in the characters and action, her skill as an oral storyteller shining through on the printed page. These carefully chosen stories are presented with brief introductions that shed light on the tales’ cultural origins and the point of learning, or moral, of the featured story. Readers will be inspired by the celebration of earth’s wonders by reading an Australian Aboriginal creation story, an Indian legend of the original tree huggers, a Nigerian cautionary tale about the dangers of greed, and a cumulative story from Bali in which Gecko learns the value of the interconnectedness of all the creatures in the web of life. The book includes five other stories with equally thought-provoking points to ponder. As a bonus, Casey has included instructions for a creative project for each tale, highlighting the wisdom of the stories and providing a hands-on opportunity for young listeners to explore their ideas further through painting, planting, cooking and crafts.

Anne Wilson’s colorful and creative illustrations bring a greater imagery to the tales and for each story shows in playful fashion the cultural origin and notions of the colors, dress, flora and fauna that are a part of the folklore. Each page is filled with color in the borders, backgrounds and whimsical designs. Wilson’s contribution of collaged paper and acrylic artwork deliver a marvelously attractive production punch that will assure the popularity of this book in schools and homes on both sides of the Atlantic.

Jack Tales and Mountain Yarns as told by Orville Hicks. Transcription and text by Julia Taylor Ebel. Illustrated by Sherry Jenkins Jensen. Parkway Publishers, Inc. 2009.

In this second volume of Orville Hicks stories from the Appalachian Mountains, Julia Taylor Ebel captures the enticingly natural and compelling style of this celebrated traditional storyteller. Hicks, recipient of the North Carolina Heritage Award in 2007, follows in the footsteps of a family rich in the oral storytelling tradition, his tales inspired by his mother Sarah’s many tellings and those of his second cousin, Ray Hicks, among many others in the Beech Mountain region. In this collection of personal and retold tales from Hicks, his words have been carefully transcribed from recordings of his oral tellings. His straightforward style and cadence of telling is cleverly captured in the layout of text in this anthology, giving the reader a greater sense of his vocal rhythm and audience connection. Readers will find themselves sensing that they are sitting on the front porch with Hicks, listening to the memories, songs and misadventures of his youth, tall tales wound with truth, and the rollicking escapades of the cunning Jack in his unique retellings of many popular Appalachian Jack tales.

Anyone wishing to learn more about the art of traditional storytelling will learn much from this volume, not only from the manner in which the stories are told but also from the descriptions of Hicks’ life influenced by the storytelling tradition of the Appalachian Mountains. The stories will certainly prove to be popular with young listeners as the transcriptions offer an outstanding read-aloud opportunity. In addition, this volume includes a glossary of regional speech found in Hicks’ tales, notes for research and discussion for educators and delightful graphite illustrations by Sherry Jenkins Jensen to accompany the stories.

Polish Folktales and Folklore. By Michal Malinowski and Anne Pellowski. Libraries Unlimited, 2009.

Polish Folktales and Folklore offers an intriguing invitation to explore a variety of Polish traditions including recipes, children’s games, riddles and, of course, folktales of many sorts. Included are local legends, animal tales, magic tales, humorous tales, why tales, religious tales, and supernatural creatures. The Fool Who Searched for Fear is a particularly humorous rendition of a familiar tale-type in which the protagonist succeeds because he is oblivious to dangerous circumstances. Janosik tells of a Polish character whose reputation resembles Robin Hood. Photographs in black-and-white and color complement the text. Many prints of Polish-style paper cuts adorn pages throughout the book. With excellent explanatory notes prefacing the work and detailed source notes and bibliography the book underpins entertainment with scholarship.

This book captures the style of Polish storyteller Malinowski who first rendered the tales into English. The stories were then polished by Pellowski, a Wisconsin-born native English speaker and storyteller. This collaboration presents the Polish teller’s narrative style in everyday English while maintaining a distinctly Polish lilt. A section on storytelling in Poland draws upon Malinowski’s professional work as director of the Storyteller Museum in Konstantin-Jezinora near Warsaw and includes a brief survey of historical work and contemporary storytelling in Poland. A dip into these pages offers experiences of a world enriched by long historical memory and lively imagination.

Princess Peacock, Tales from the Other Peoples of China. By Haiwang Yuan. World Folklore Series, Libraries Unlimited, 2008.

This well-organized and richly documented volume is designed to give the American reader a fair view of China as a multi-ethic nation of diverse cultures. It offers a sample of one well-known tale from each of the fifty-five Chinese ethnic minorities, each one being introduced by a brief description of the group of origin in order to establish greater awareness of the cultural context. The volume begins with an overview of the Chinese ethnicities, presenting peoples, their languages, their dwellings, clothing, religions, customs, festivals, performing arts, fine arts, literature and storytelling. A variety of recipes for traditional dishes, games and crafts are described in a manner that encourages the reader to explore. The tales are divided into animal tales, moral tales, tales of deities, immortals, and legendary figures, magic tales, tales of love and romance, tales of creation and ethnic origins, tales of how thing came to be, and legends about places. While Liu Sanjie, A Fearless Folk Song Singer reflects a historical period when the dominant Han culture oppressed ethnic minorities, Forty Girls, Seven Brothers, and Princess Wencheng reveal times of ethnic harmony and peaceful coexistence. The title tale is a tale of love and magic that pulls the reader’s heartstrings regardless of one’s ethnic identity. A section of color photographs depict folk dress and customs. Black-and-white drawings are interspersed with the tales. The appendices, which are geared to the interests of academicians, include detailed information on the motifs and tale sources, as well as a list of Chinese national minorities. These are followed by a glossary, references, and an index.

Author Haiwang Yuan, a professor and the Web Site and Virtual Library Coordinator in the Department of Library Public Services at Western Kentucky University, is a native of China and an American citizen. Princess Peacock, Tales from the Other Peoples of China is intended as a companion to The Magic Lotus Lantern and Other Tales from the Han Chinese (2006), both World Folklore Series anthologies. In these fine books, Professor Yuan brings a highly informed outlook to a broad readership. He displays his devotion to his own cultural heritage and his commitment to scholarship, in a manner that is accessible, informative and intelligent. The tales in this anthology have been selected for their suitability for young readers, but may be enjoyed by the culturally inquisitive reader, young and old alike. The contents of Princess Peacock provide extremely valuable material for the families of the many Chinese children adopted by Americans by introducing and reinforcing knowledge of their ethnic origins. This collection of tales is designed to entice readers to explore a civilization that is ancient, mystic, profound and most importantly, incredibly diverse.

Tsunami! By Kimiko Kajikawa. Illustrated by Ed Young. Phiomel Books, 2009.

Tsunami! is Kimiko Kajikawa and Ed Young’s brilliant realization of a Japanese story of an elder’s extraordinary sacrifice to save his village. While the people of his village are gathered at the coast for a festival, a wealthy farmer has chosen to remain on higher ground, tending his fields. He sees a tsunami approaching and warns them the only way he can, by setting his crops on fire, thereby saving lives but losing his livelihood. He is honored in Japanese legend for his sacrifice.

This large-format picture book is based on Lafcadio Hearn’s late-nineteenth century re-telling of the story of Hamaguchi Gohei of Kishu province. Kajikawa’s spare text cuts to the essence of this gripping tale and Young’s intricate collages provide both illustrative force and engaging detail that encourage the reader to linger at each page. In thirty-two thrilling pages Kajikawa and Young distill this story to its thought-provoking essence.

2009 Special Recognition

The 2009 Aesop Award Committee would like to give special recognition to Libraries Unlimited for their scholarly efforts in compiling the comprehensive World Folklore Series. The Advisory Committee members, Simon Bronner, Joseph Bruchac, Natalie Kononenko, Norma Livo, and Margaret Read MacDonald, have overseen this series which currently consists of thirty-six titles, many of which offer in-depth collections from cultures whose folklore is not otherwise readily available. This year five anthologies, Lao Folktales, Mongolian Folktales, Polish Folktales and Folklore, Princess Peacock: Tales from the Other Peoples of China, and The Singing Top: Tales from Malaysia, Singapore, and Brunei, were submitted, two of which received Accolades. From the Winds of Manguito: Cuban Folktales in English and Spanish received a Prize in 2005, and Brazilian Folktales received an Accolade in 2006. As a whole, the World Folklore Series is a decidedly valuable contribution to American folklore scholarship.

2008 Aesop Prize

Ain’t Nothing But a Man: My Quest to Find the Real John Henry. Scott Reynolds Nelson, with Marc Aronson. National Geographic, 2008.

2008 Aesop Accolades

Dance in a Buffalo Skull. Told by Zitkala-Ša. Illustrated by S. D. Nelson. Prairie Tales Series, no. 2. South Dakota State Historical Society Press, 2007.

The Adventures of Molly Whuppie and Other Appalachian Folktales. Anne Shelby. Illustrated by Paula McArdle. University of North Carolina Press, 2007.

2007 Aesop Prize

Lugalbanda: The Boy Who Got Caught Up In a War. Told by Kathy Henderson. Illustrated by Jane Ray. Candlewick, 2006.

The Legend of Hong Kil Dong: the Robin Hood of Korea. Retold by Anne Sibley O'Brien. Charlesbridge, 2006.

2007 Aesop Accolades

Solomon and the Ant and Other Jewish Folktales. Retold by Sheldon Oberman. Introduction and commentary by Peninnah Schram. Boyds Mills Press, 2006.

Tatanka and the Lakota People: A Creation Story. Illustrated by Donald F. Montileaux. South Dakota State Historical Press, 2006.

2006 Aesop Prize

Malian's Song. By Marge Bruchac, illustrated by William Maughan. Middlebury, Vermont: Vermont Folklife Center, 2005.

Outfoxing Fear: Folktales From Around the World. Edited by Kathleen Ragan. New York: W.W. Norton, 2006.

2006 Aesop Accolades

Chál tó yinílo‘: Frog Brings Rain. By Patricia Hruby Powell. Flagstaff, Arizona: Salina Bookshelf, 2006.

Brazilian Folktales. By Livia de Almeida and Ana Portella, edited by Margaret Read MacDonald. Westport, Connecticut: Libraries Unlimited, 2006.

2005 Aesop Prize

From the Winds of Manguito: Cuban Folktales in English and Spanish. Retold by Elvia Pérez. Edited by Margaret Read MacDonald. Translated by Paula Martin. Illustrated by VÍctor Francisco Hernández Mora. Westport, Connecticut: Libraries Unlimited, 2004.

Roy Makes a Car. By Mary E. Lyons. Illustrated by Terry Widener. New York: Atheneum, 2005.

2005 Aesop Accolades

The Flying Canoe. Retold by Roch Carrier. Translated by Sheila Fischman. Illustrated by Sheldon Cohen. Toronto, Ontario, Canada: Tundra Books, 2004.

Grandma Lena's Big Ol' Turnip. By Denia Lewis Hester. Illustrated by Jackie Urbanovic. Morton Grove, Illinois: Albert Whitman and Company, 2005.

The Minister's Daughter. By Julie Hearn. New York and London: Atheneum, 2005.

2004 Aesop Prize

Ayat Jamilah: Beautiful Signs: A Treasury of Islamic Wisdom for Children and Parents. Collected and adapted by Sarah Conover and Freda Crane. Illustrated by Valerie Wahl. Spokane, Washington: Eastern Washington University Press, 2004.

The Magic Gourd. Written and illustrated by Baba Wagué Diakité. New York: Scholastic Press, 2003.

2004 Aesop Accolades

Bottle Houses:The Creative World of Grandma Prisbrey. Written by Melissa Eskridge Slaymaker. Illustrated by Julie Paschkis. New York: Henry Holt, 2004.

The Painted Wall and Other Strange Tales. Selected and adapted by Michael Bedard from the Liao-Chai of Pu Sung-ling. Toronto: Tundra Books, 2003.

Sure as Sunrise: Stories of Bruh Rabbit & His Walkin’ Talkin’ Friends. Written by Alice McGill. Illustrated by Don Tate. Boston: Houghton Mifflin, 2004.

Walking on Solid Ground. By Shu Pui Cheung, Shuyuan Li, Aaron Chau and Deborah Wei. Philadelphia: Philadelphia Folklore Project, 2004.

2003 Aesop Prize

Horse Hooves and Chicken Feet: Mexican Folktales. Selected by Neil Philip. Illustrated by Jacqueline Mair. New York: Clarion Books, 2003.

Mightier Than the Sword: World Folktales for Strong Boys. Collected and told by Jane Yolen. Illustrated by Raul Colon. San Diego: Silver Whistle/ Harcourt, Inc., 2003.

2003 Aesop Accolades

Invisible Kingdoms: Jewish Tales of Angels, Spirits, and Demons. Retold by Howard Schwartz, illustrated by Stephen Fieser. New York: HarperCollins, 2002.

Nelson Mandela’s Favorite African Folktales. [written and illustrated by various hands] New York: W. W. Norton, 2002.

Pajaro Verde: The Green Bird. By Joe Hayes, illustrated by Antonio Castro L. El Paso, TX: Cinco Puntos, 2002.

Something for Nothing. By Ann Redisch Stampler, illustrated by Jacqueline M. Cohen. New York: Clarion Books, 2003.

The Sun, the Rain, and the Apple Seed: A Novel of Johnny Appleseed's Life. By Lynda Durrant. New York: Clarion Books, 2003.

Yonder Mountain: A Cherokee Legend. Told by Robert H. Bushyhead, written by Kay Thorpe Bannon, illustrated by Kristina Rodana. New York: Marshall Cavendish, 2002.

2002 Aesop Prize

Can You Guess My Name? Traditional Tales Around the World. Selected and retold by Judy Sierra. Illustrated by Stefano Vitale. Clarion Books, 2002.

One Time Dog Market at Buda and Other Hungarian Folktales. Translated and retold by Irma Molnér. Illustrations by Georgeta-Elena Enesel. Linnet Books, 2001.

2002 Aesop Accolades

Head, Body, Legs: A Story from Liberia. Retold by Won-Ldy Paye and Margaret H. Lippert. Illustrated by Julie Pashkis. Henry Holt, 2002.

The Race of the Birkebeiners. Written by Lise Lunge-Larsen. Illustrated by Mary Azarian. Houghton Mifflin, 2001.

Shakespeare's Storybook: Folk Tales That Inspired the Bard. Retold by Patrick Ryan. Illustrated by James Mayhew. Barefoot Books, 2001.

2001 Aesop Prize

Fiesta Feminina. Celebrating Women in Mexican Folktale. Retold by Mary-Joan Gerson. Illustrated by Maya Christina Gonzalez. Barefoot Books, 2001.

2001 Aesop Accolades

Mabela the Clever. Retold by Margaret Read MacDonald. Illustrated by Tim Coffey. Albert Whitman, 2001.

Daisy and the Doll. By Michael Medearis and Angela Shelf Medearis. Paintings by Larry Johnson. Vermont Folklife Center, 2001.

2000 Aesop Prize

The Day the Rabbi Disappeared: Jewish Holiday Tales of Magic. Text by Howard Schwartz. Illustrations by Monique Passicot. Viking, 2000.

2000 Aesop Accolades

The Hunter: A Chinese Folktale. Text by Mary Casanova. Illustrations by Ed Young. Atheneum, 2000.

In the Hollow of Your Hand: Slave Lullabies. Text by Alice McGill. Illustrations by Michael Cummings. Houghton, Mifflin, 2000.

Stockings of Buttermilk: American Folktales. Text by Neil Philip. Illustrations by Jacqueline Mair. Clarion, 1999.

1999 Aesop Prize

King Solomon And His Magic Ring. Text by Elie Wiesel. Illustrations by Mark Podwal. Greenwillow, 1999.

Trickster And The Fainting Birds. Text by Howard Norman. Illustrations by Tom Pohrt. Harcourt Brace, 1999.

1999 Aesop Accolades

The Deetkatoo: Native American Stories About Little People. Text by John Bierhorst. Illustrations by Ron Hilbert Coy. William Morrow, 1998.

The Donkey And The Rock. Text and illustrations by Demi. Henry Holt, 1999.

The Hatseller And The Monkeys. Text and illustrations by Baba Wagu? Diakit?. Scholastic, 1999.

Why Leopard Has Spots: Dan Stories From Liberia. Text by Won-Ldy Paye and Margaret H. Lippert. Illustrations by Ashley Bryan. Fulcrum, 1998.

1998 Aesop Prize:

Echoes Of The Elders: The Stories And Paintings Of Chief Lelooska. Text and illustrations by Chief Lelooska. DK Publishing, Inc., 1997.

1998 Aesop Accolades:

The Girl Who Dreamed Only Geese And Other Tales Of The Far North. Text by Howard Norman. Illustrations by Leo and Diane Dillon. Harcourt Brace, 1997.

The Hatmaker's Sign: A Story By Benjamin Franklin. Text by Candace Fleming. Illustrations by Robert Andrew Parker. Orchard, 1998.

The Legend Of The White Buffalo Woman. Text and illustrations by Paul Goble. National Geographic Society, 1998.

Momentos Magicos/Magic Moments: Tales From Latin America. English and Spanish texts by Olga Loya. August House, 1997.

1997 Aesop Prize:

Earth Tales From Around The World. Text by Michael J. Caduto. Illustrations by Adelaide Murphy Tyrol. Fulcrum, 1997.

The Hired Hand: An African-American Folktale. Text by Robert D. San Souci. Illustrations by Jerry Pinkney. Dial Books for Young Readers, 1997.

1997 Aesop Accolades:

Bouki Dances The Kokioko: A Comical Tale From Haiti. Text by Diane Wolkstein. Illustrations by Jesse Sweetwater. Harcourt Brace, 1997.

The Cricket's Cage: A Chinese Folktale. Text and illustrations by Stefan Czernecki. Hyperion, 1997.

Esther's Story. Text by Diane Wolkstein. Illustrations by Juan Wijngaard. Morrow Junior Books, 1996.

Full Moon Stories: Thirteen Native American Legends. Text and illustrations by Eagle Walking Turtle. Hyperion, 1997.

Musicians Of The Sun. Text and illustrations by Gerald McDermott. Simon & Schuster, 1997.

The Sea King's Daughter: A Russian Legend. Text by Aaron Shepard. Illustrations by Gennady Spirin. Atheneum, 1997.

1996 Aesop Prize:

Next Year In Jerusalem. Text by Howard Schwartz. Illustrations by Neil Waldman. Viking, 1996.

Nursery Tales Around The World. Text by Judy Sierra. Illustrations by Stefano Vitale. Clarion, 1996.

1996 Aesop Accolades:

The Biggest Frog In Australia. Text and illustrations by Susan L. Roth. Simon and Schuster, 1996.

The Maiden Of the Northland: A Hero Tale Of Finland. Text by Aaron Shepard. Illustrations by Carol Schwartz.

Medio-Pollito/Half-Chicken. Text by Alma Flor Ada. Illustrations by Kim Howard. Doubleday, 1996.

Mysterious Tales Of Japan. Text by Rafe Martin. Illustrations by Tatsuro Kiuchi. G.P. Putnam, 1996.

Princess Florecita And The Iron Shoes. Text by John Warren Stewig. Illustrations by K. Wendy Propp. Apple Soup Books, 1995.

Songs For Survival: Songs And Chants From Tribal Peoples Around The World. Compiled by Nikki Siegen-Smith. Illustrations by Bernard Lodge. Dutton, 1995.

The Story Of The Milky Way: A Cherokee Tale. Text by Joseph Bruchac and Gayle Ross. Illustrations by Virginia A. Stroud. Dial, 1995.

The Turkey Girl. Text by Penny Pollock. Illustrations by Ed Young. Little Brown, 1996.

When The World Was Young: Creation And Pourquoi Tales. Text by Margaret Mayo. Illustrations by Louise Brierley. Simon and Schuster, 1995.

Wicked Jack. Text by Connie N. Wooldridge. Illustrations by Will Hillenbrand. Holiday House, 1995.

The Woman In The Moon: A Story From Hawai'i. Text by Jama Kim Rattagan. Illustrations by Carla Golembe. Little Brown Canada, 1996.

1995 Aesop Prize:

Fair Is Fair: World Folktales Of Justice. Text by Sharon Creeden. August House, 1994.

1995 Aesop Accolades:

Coyote And The Winnowing Birds: A Traditional Hopi Tale. Based On a Story Told By Eugene Sekaquaptewa. Translated by Emory Sekaquaptewa and Barbara Pepper and illustrated by Hopi children. Clear Light, 1994.

Duppy Talk: West Indian Tales Of Magic And Mystery. Text by Gerald Hausman. Simon and Schuster, 1994.

Giants! Stories From Around The World. Text by Paul Robert Walker. Illustrations by James Bernardin. Harcourt Brace, 1995.

The Gifts Of Wali Dad: A Tale Of India And Pakistan. Text by Aaron Shepard. Illustrations by Daniel San Souci. Atheneum, 1995.

When The World Ended, How Hummingbird Got Fire, How People Were Made: Rumsien Ohlone Stories. Text and illustrations by Linda Yamane. Oyate, 1995.

Why Alligator Hates Dog: A Cajun Folktale. Text by J.J. Reneaux. Illustrations by Donnie Lee Green. August House, 1995.

1994 Aesop Prize:

John Henry. Text by Julius Lester. Illustrations by Jerry Pinkney. Dial, 1994.

1994 Aesop Accolades:

Baba Yaga: A Russian Folktale. Text and illustrations by Katya Arnold. North-South, 1993.

The Bossy Gallito. Text by Lucia M. Gonzalez. Illustrations by Lulu Delacre. Scholastic, 1994.

Christopher: The Holy Giant. Text and illustrations by Tomie de Paola. Holiday House, 1994.

Coyote And Little Turtle: A Traditional Hopi Tale. Told by Herschel Talashoema and illustrated by Hopi children of the Hotevilla-Bacavi Community School. Translated and edited by Emory Sekaquaptewa and Barbara Pepper. Clear Light, 1994.

The Girl Who Wanted To Hunt: A Siberian Tale. Text by Emery Bernhard. Illustrations by Durga Bernhard. Holiday House, 1994.

The Magic Storysinger From The Finnish Epic Tale Kalevala. Text and illustrations by M.E.A. McNeil. Stemmer House, 1993.

The Mummer's Song. Text by Bud Davidge. Illustrations by Ian Wallace. Afterword by Kevin Major. Douglas & McIntyre, 1993.

Shadow Of A Flying Bird: A Legend Of The Kurdistani Jews. Text and illustrations by Mordecai Gerstein. Hyperion, 1994.

1993 Aesop Prize:

This was the first year in which Aesop Accolades were awarded. Two books shared the Aesop Prize:

Cut From The Same Cloth: American Women In Myth, Legend, And Tall Tale. Text by Robert D. San Souci. Illustrations by Brian Pinkney. Philomel, 1993.

Love Flute. Text and illustrations by Paul Goble. Bradbury, 1993.

1993 Aesop Accolades:

Big Men, Big Country: A Collection Of American Tall Tales. Text by Robert Paul Walker. Illustrations by James Bernardin. Harcourt Brace, 1993.

The Green Gourd: A North Carolina Folktale. Text by C.W. Hunter. Illustrations by Tony Griego. G.P. Putnam, 1992.

Ishi's Tale Of Lizard. Text by Leanne Hinton. Illustrations by Susan L. Roth. Farrar, Strauss & Giroux, 1992.

Northern Lights: The Soccer Trails. Text by Michael Arvaarluk Kusugak. Illustrations by Vladyana Krykorka. Annick Press, 1993.

Sundiata: Lion King Of Mali. Text and illustrations by David Wisniewski. Clarion, 1993.

Surtsey: The Newest Place On Earth. Text by Kathryn Lasky. Photographs by Christopher G. Knight. Hyperion, 1992.

In 1992, the first year of the Aesop Award, two books shared the prize:

Aesop And Company With Scenes From His Legendary Life. Text by Barbara Bader. Illustrations by Arthur Geisert. Houghton Mifflin, 1992.

Days Of Awe: Stories For Rosh Hashanah And Yom Kippur. Text by Eric A. Kimmel. Illustrations by Erika Weihs. Viking, 1992.