Book Corner
2007 Aesop Award Winners and Accolade recipients, selected by the AFS Children's Folklore Section

Synopses submitted by Jacqueline S. Thursby, Brigham Young University

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

Henderson's retelling of this early Sumerian epic poem brings to the awareness of children a tale that was discovered in the late 1800s written in cuneiform script on clay tablets in the sands of Iraq. It was not until the 1970s that the first translations of these poems that predate the epic of Gilgamesh by about 300 years were assembled, and this book is the first time this marvelous story --which has special relevance in the present --has made it into print for children. The young prince Lugalbanda is left gravely ill in the wilderness when King Enmerkar's army goes to war. He recovers, tames the terrifying Anzu bird by giving its chick treats and showing respect, and gains extraordinary speed and strength. When the war goes badly for the king, his new powers speed him over the mountains with a request for help from the goddess Inana. She gives it with the warning not to destroy the enemy city, so the king repairs the damage caused by the war, and resettles it, leaving Lugalbanda to grow up in peace and become the next king of Urak.

The book is distinctive in many ways. Henderson's text remains true to the translation that she acknowledges in the dedication. The illustrations are well researched and culturally authentic as well as delightful and engaging. The detailed source and contextual information give readers a sense of the culture from which this story sprung as well as the history of its discovery. The Aesop committee's comments include: "outstanding for the story, the luscious illustrations and the notes, "the epic sophistication of the story will appeal to older children, but it is written in a way that makes it approachable by younger audiences, too," and "the whole presentations, concept, antiquity, and uniqueness of the book make it superb."

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

O'Brien has retold this early 17th century Korean tale in graphic novel format. The story concerns a young boy who cannot claim his birthright because his mother is a commoner while his father is a powerful minister. Hong Kil Dong is determined to claim his rightful place in society, so he dedicates himself to the study of swordplay, martial arts, divination, and magic, and becomes the leader of a band of bandits who steal from the rich and give to the poor. Hong Kil Dong is finally made minister of war by the king, thereby accomplishing what he had set out to do.

O'Brian uses all of the techniques of graphic novels (changes in frame size and placement, word and thought balloons, and the space between frames that readers must fill with their own imagination) and one wordless, double-page spread to convey the energy, vitality, and honor of this hero. The illustrations in ink and watercolor capture the mythical aura of the tale and avoid cultural stereotyping, while an author's note at the end explains her rediscovery of the story after hearing it as a young girl in Korea, and it gives further contextual information in a pronunciation guide, some historical notes, and a short guide to Korean costume and symbolism. These ten symbols of longevity appear in a wordless one-page spread as Hong Kil Dong sets out to seek his birthright (a wonderful foreshadowing of his eventual triumph). The final page of the book describes her sources and professional contacts. Comments from the Aesop committee include: "extensive notes and excellent contextual background give the reader a sense of how this story 'fits' into Korean culture," "a popular format, culturally authentic, and superb attention to detail in the illustrations," "the graphic novel approach and compelling story combine to make this a book that will be returned to time and again by children, particularly perhaps, boys," and "this book opens your eyes to the possibilities of what a well designed graphic novel is capable."

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

This delightful collection of forty-three Jewish tales (legends, religious tales, medieval fables, wisdom tales, anecdotes, trickster tales, riddle stories, and more) is meticulously researched. Each story begins with an introduction that sets the stage for the folktale, much as a storyteller would do in performance. The stories are then written in prose that rings true to the ear, as folklore should; Oberman shows himself to be a consummate storyteller. Following each tale is a Note that provides further insight into the story, a Commentary that gives personal context and relevance to the tale, and a section of Sources and Variants that provides the reader with other sources in which to find the tale as well as major motifs and tale types for further research.

The scholarly introduction by Peninnah Schram provides insight into the place of folklore in Jewish life. Comments from the Aesop committee include: "fine selections, vibrant storytelling, and well-presented source notes," "a superbly crafted book, and the writing style and book design are definitely for children," "not only are the stories entertaining, but the reader can take various paths through the book using the introductory notes, commentary, and sources."

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

Written in both Lakota and English and illustrated in bold colors and strokes by Oglala Lakota artist Montileaux, this story has been handed down for generations by Lakota Elders to help Lakota children understand the world in which they live. Montileaux "had the story line and the information from my ancestors," thus revealing its origins in oral culture. Now, in book form, it can also help other children understand part of the Lakota culture. The tale shares how the Buffalo Nation was created and given life and purpose in the Underworld. Then Spider, the trickster, sent wolf to the strongest young man, Tokahe, to tell him that life would be easier on the surface of the earth. The holy man, Tatanka, warned the people not to go, but they climbed up through Wind Cave and arrived in the Black Hills. Life on earth was not easy as Spider had claimed, but Tantanka came to earth as the buffalo so that his people would have food, shelter, and clothing.

The story is culturally authentic, and the style of the text (spare and uncluttered) complements the style of the illustrations (two-dimensional like traditional buffalo-hide paintings) to create a unified whole so vital to any picture book. The introduction gives the reader and understanding of how stories and storytelling are part of Lakota life, and the final page describes the real Wind Cave in South Dakota and provides further readings. Aesop award committee comments include: "this book's honest and subtle portrayal of the folklore and art of the Lakota people is refreshing"; "the way the book came into being and the way it tells the story are part of its meaning and value"; and "this picture book would work well with older children who can appreciate the paradoxical simplicity of its style and complexity of its mythic and legendary origins."