# 30- The Three Little Pigs (1989)

The Three Little Pigs (1989)

James Marshall

Marshall offers a refreshing take of this traditional tale, making the experience his own with his trademark illustrations and dialogue rich with idioms. Using a bright palette of watercolor and pen, Marshall demonstrates each pig’s personality with rich visual detail. In the opening spread, the reader gets a hint of this as the three pigs march out of their childhood home. The pig who later lays in a hammock inside a swaying home of straw is first in line here, shoe and shirtless with his bag slung over his shoulder while the third pig is elegantly dressed with both feet on the ground.

Readers will want to spend time viewing the whimsical homes of the three pigs and paying attention to the movement and mood portrayed through Marshall’s artwork. Yellow represents opportunity, as each building material is transported in a something bearing this color. Movement is evident in the scatter of straw and sticks in the destruction of the first two houses, and subtle details like a wavering scarf and curtains blowing bring life to the pages.

English language learners will be able to examine idioms in context through the narration of this familiar story, such as “mind your own business” and the concept of being “put out.”

Though the first two pigs are devoured by the not-so- threatening wolf in this version, the book jacket shows a stage and gives a view from both audience and performer’s perspective. This may provide some reassurance to younger readers.

View the cartoon version: www.youtube.com/watch?v=Joll62WS9H4

# 18- Glass Slipper, Gold Sandal: A Worldwide Cinderella (2007)

Glass Slipper, Gold Sandal: A Worldwide Cinderella (2007)

Paul Fleischman

Illustrated by Julie Paschkis

This multicultural celebration re-tells a traditional tale while exposing students to images from around the world. Upon opening the bold red cover, readers are greeted upon opening the book with endpages featuring a world map labeled with the places that the illustrations take place in, some of which include the West Indies, Japan, Appalachia and México. On the back cover a framed illustration of a golden sandal with a pointed toe is featured, hinting that this is not your average Cinderella tale.

With each turn of a page a different version of Cinderella is presented within colorful frames featuring designs in white against bold, jewel-toned backgrounds befitting of a princess. At the end of the story, all of the embodiments of Cinderella and the Prince meet up with their partners, each wearing the traditional wedding garb of their cultures. The festival at the end features food from many cultures, including “cookies and custards,” “beef stew and lamb stew,” and “mangoes and melons.”

Teachers may include this book in a study of the many versions of this traditional tale available, or enjoy it on its own.

# 16- Hansel and Gretel (2009)

Hansel and Gretel (2009)

Rachel Isadora

The cut and torn paper artwork in this picturebook depict a fresh take on this traditional fairytale by the Brothers Grimm. Isadora's artwork is reminiscent of that of Eric Carle. Bright, textured shades of blue, orange, yellow, green and red make the night background and the white pebbles central to the story pop out. Instead of the dark, mysterious forest the children travel through what appears to be a rainforest alive with lizards, chimps, and other creatures.

The tale retains many of the traditional aspects of the story, including the cat sitting on the roof and the bone that Hansel uses to trick the witch. The witch in this edition is particularly treacherous, with green skin, red eyes, claws, and a long dress made of torn black paper.

Children and teachers will enjoy comparing the artwork and traditional features of this tale to other versions.

# 10- R.E.M. (1997)

R.E.M. (Rapid Eye Movement) (1997)

Istvan Banyai

The title and images on the cover of this book hint at Banyai’s dream-like story featuring literary characters we are all familiar with. The prince and princess, snowman, and image of Winnie the Pooh hint at the fairytale references in the story.

The gigantic feet alongside the figures and the eyes that pop out against the pitch black of the back cover and endpages suggest that there is a larger being manipulating these miniature icons, or simply dreaming up stories for them to act out.

In the opening, a drop of water morphs into a little blue boy reminiscent of Harold of “Harold and the Purple Crayon,” setting the stage for the imaginative stories that follow. Many readers are sure to find a connection to their childhood literary experiences, and it is important to give the eyes time to appreciate the subtle surprises in the lines of the artwork in this book.

Banyai’s bright palette pops against the pastel tones of the backgrounds in this playful book.

# 4- Me and You (2010)

Me and You (2010)

Anthony Browne

This refreshing portrayal of the traditional tale “Goldilocks and the Three Bears” features a Goldilocks depicted in wordless panels of sepia tones in the verso sides of the pages, with her fiery orange hair standing out from behind her hood. Her story follows Goldilocks as she runs after a white balloon through various urban landscapes.

On the recto side of the book appears the tale from the perspective of the young bear. The bears are wearing pastel colored sweaters and live in a house, whereas the Goldilocks lives in a colorless apartment and in panels reminiscent of graphic stories. His story is brightly depicted, and as Goldilocks enters his home, the color illuminates the pages once again. She does everything that the traditional fairytale depicts, ending up asleep in the little bear’s bed.

When the bears encounter her, they look like wolves, and Goldilocks runs out of the bright home back to her mother’s arms. In this image, her bright red hair covers her shoulders. The reader is left to consider the lesson that Goldilocks learned about her own life with her mother in this final scene depicting her return to her own surroundings.