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Searching... Bayport Public Library | EASY SCH | Searching... Unknown |
Searching... Hardwood Creek Library (Forest Lake) | EASY SCH | Searching... Unknown |
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Summary
Summary
Winner of CILIP Kate Greenaway Medal
Winner of the TD Canadian Children's Literature Award
A young boy wakes up to the sound of the sea, visits his grandfather's grave after lunch and comes home to a simple family dinner with his family, but all the while his mind strays to his father digging for coal deep down under the sea. Stunning illustrations by Sydney Smith, the award-winning illustrator of Sidewalk Flowers, show the striking contrast between a sparkling seaside day and the darkness underground where the miners dig.
With curriculum connections to communities and the history of mining, this beautifully understated and haunting story brings a piece of Canadian history to life. The ever-present ocean and inevitable pattern of life in a Cape Breton mining town will enthrall children and move adult readers.
Correlates to the Common Core State Standards in English Language Arts:
CCSS.ELA-LITERACY.RL.2.7
Use information gained from the illustrations and words in a print or digital text to demonstrate understanding of its characters, setting, or plot.
CCSS.ELA-LITERACY.RL.3.7
Explain how specific aspects of a text's illustrations contribute to what is conveyed by the words in a story (e.g., create mood, emphasize aspects of a character or setting)
CCSS.ELA-LITERACY.RL.4.1
Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.
Author Notes
Joanne Schwartz was born in Cape Breton, Nova Scotia. She is the author of Town Is by the Sea, illustrated by Sydney Smith, winner of the TD Canadian Children's Literature Award and the CILIP Kate Greenaway Medal, among many other honors. Her first picture book, Our Corner Grocery Store, illustrated by Laura Beingessner, was nominated for the Marilyn Baillie Picture Book Award. She has written several other highly acclaimed picture books, including Pinny in Summer and Pinny in Fall, both illustrated by Isabelle Malenfant. Joanne has been a children's librarian for more than twenty-five years. She lives in Toronto.
Sydney Smith was born in rural Nova Scotia and has been drawing from an early age. Since graduating from NSCAD University, he has illustrated numerous children's books, including the highly acclaimed wordless picture book Sidewalk Flowers, conceived by Jon Arno Lawson, which won a Governor General's Award, among many other honours, and was named a New York Times Best Illustrated Children's Book. He is also the illustrator of Town Is by the Sea by Joanne Schwartz, for which he was awarded the Kate Greenaway Medal, and which won the TD Canadian Children's Literature Prize. Small in the City is the first picture book that Sydney has written as well as illustrated. He lives and works in Toronto with his wife and son.
Reviews (6)
Publisher's Weekly Review
In an author's note, Schwartz (Pinny in Summer) explains that until the 1950s, boys who grew up in Canadian coal towns knew that their futures lay at the bottom of their local mine. Her young narrator takes readers through a typical day, describing a quiet, unchanging life. Smith's (The White Cat and the Monk) expressive, evocative spreads contrast the light-soaked landscape above with the night-black mine below, and the boy's varied activities with his father's fixed routine. In the morning, the boy stands in his underwear and gazes out the window toward the sea. A page turn reveals inky darkness: "And I know my father is already deep down under that sea, digging for coal." The boy plays and does errands as his father toils far below. "One day," the boy concludes, "it will be my turn.... In my town, that's the way it goes." In Schwartz's lyrical, wistful account, there's no sense of injustice or complaint-only a note of resignation. It's a sensitive way of helping readers understand that, for some, the idea of choosing a career is a luxury. Ages 5-9. Illustrator's agent: Emily van Beek, Folio Literary Management. (Apr.) © Copyright PWxyz, LLC. All rights reserved.
Horn Book Review
A boy describes an ordinary day in a seaside coal mining town in the 1950s. The focus shifts among three locations: home, the ocean, and the mine where the boy's father works. The narrative is infused with a quality of slightly anxious waiting that illustrator Smith captures beautifully. It's a moving story, and a fine example of text and pictures in perfect harmony. (c) Copyright 2017. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Booklist Review
*Starred Review* In this atmospheric story, a young boy describes a day in his seaside town. As he details his experiences, his winsome descriptions of fresh salt air and the light shining on the sea stand in sharp contrast to the confined darkness of the coal mine where his father works. Although nothing bad happens on this day, an unsettling sense of melancholy permeates the words and, especially, Smith's paintings, which are rendered in rich, warm watercolors accented by thick, black ink. As the boy revels in the sunshine, he thinks of his father in darkness below. At one point, the miners recede from view, and the darkness encroaches on their narrow tunnel at the bottom of the page. In the next two-page spread, the boy visits the graveyard where his grandfather who also was a miner is buried. A picture of the calm, expansive sea, glittering with sunshine, is paired with a dark, empty mine, rendered in heavy, black scribbles. The tension is broken when the boy's father appears in the door to their home, but the happy family dinner scene is haunted by a smear of darkness under the table, suggesting that anxiety never is completely removed. The boy's somewhat wistful statements echo that feeling as he notes, I think about the bright days of summer and the dark tunnels underground. One day it will be my turn. I'm a miner's son. Hauntingly beautiful.--Whitehurst, Lucinda Copyright 2017 Booklist
New York Review of Books Review
BLIND SPOT, by Teju Cole. (Random House, $40.) This lyrical essay in photographs paired with texts explores the mysteries of the ordinary. Cole's questioning, tentative habit of mind, suspending judgment while hoping for the brief miracle of insight, is a form of what used to be called humanism. MY FAVORITE THING IS MONSTERS, by Emil Ferris. (Fantagraphics, paper, $39.99.) In this graphic novel, drawn entirely on blue-lined notebook paper, a monster-loving 10-year-old in 1960s Chicago tries to make sense of a neighbor's death, her mother's decline from cancer, and her crush on another girl. The story is punctuated by drawings of the covers of the horror magazines she loves. CHEMISTRY, by Weike Wang. (Knopf, $24.95.) A Chinese-American graduate student struggles to find her place in the world, arguing with her parents about whether she can give up her Ph.D. and wondering whether to marry her boyfriend. Wang's debut novel is both honest and funny. CATTLE KINGDOM: The Hidden History of the Cowboy West, by Christopher Knowlton. (Eamon Dolan/Houghton Mifflin Harcourt, $29.) The 20-year grand era of cowboys and cattle barons is a story of boom and bust. Knowlton's deftnarrative is filled with sharp observations about cowboys and fortune-hunters. THEFT BY FINDING: Diaries (1977-2002), by David Sedaris. (Little, Brown, $28.) Over 25 years, these diaries mutate from a stress vent, to limbering-up exercises for the kind of writing Sedaris is going to do, to rough drafts. His developing voice - graceful, whining, hilarious - is the lifeline that pulls him through. TOWN IS BY THE SEA, by Joanne Schwartz. Illustrated by Sydney Smith. (Groundwood/House of Anansi, $19.95; ages 5 to 9.) This evocation of daily life in a picturesque, run-down seaside town in the 1950s stirs timeless, elemental emotions. The ocean light is contrasted with the coal mine far below, where a boy's father works and where he is destined (and resigned) to follow. OTIS REDDING: An Unfinished Life, by Jonathan Gould. (Crown Archetype, $30.) It's hard to write about Redding; he died at 26 and no one has anything nasty to say about him. Gould relies on interviews with his surviving family members and exhaustive research into his early years as a performer to tell his story. THE COMPLETE STORIES, by Leonora Carrington. Translated by Kathrine Talbot and Anthony Kerrigan. (Dorothy, paper, $16.) The Surrealist painter and fabulist wrote 25 fantastical and droll stories in English, Spanish and French. COCKFOSTERS: Stories, by Helen Simpson. (Knopf, $23.95.) Nine tales offer memorable characters, comic timing, originality, economy, poignancy and heart. Although they are entertaining, the mortality and the passage of time is an underlying theme. The full reviews of these and other recent books are on the web: nytimes.com/books
School Library Journal Review
K-Gr 4-A nameless boy in the 1950s goes about his day in a town near the sea. He plays with his friend, goes to the grocery store, and visits his grandfather's grave. All the while, he's thinking about his father "deep down under that sea, digging for coal." Schwartz uses repetition to tie the narrative together, repeating, "it goes like this" to introduce each new element to the boy's day; every few pages, she returns to the boy's father under the sea. Mark Turetsky's sparse narration would have benefited from accompanying music. Readers will want to have the book in front of them in order to appreciate all aspects of the tale. An author's note at the end explains the history of child labor in the mines and the tradition of following in one's father's footsteps at work. VERDICT A lyrical story of a little-known history that should not be missed.-Elizabeth Elsbree, Krug Elementary School, Aurora, IL © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus Review
The coal mines of Cape Breton in the Canadian province of Nova Scotia have closed, but this book recalls a time when generations of men toiled in the mines under the sea.As the book starts, a white couple stands by the door. The woman holds her husband's lunch pail as he gets ready to leave home. Upstairs, their son wakes up, and it is from him that readers will get to know his town and life by the sea, the repeated phrase "it goes like this" lending the narrative a timeless quality. Both the text and the illustrations have a simple, understated quality that go hand in hand and lend a melancholic feel to the whole. A muted palette and images heavily outlined in black reinforce the feeling. As the boy goes about his life aboveplaying with his brown-skinned friend; coming home to a simple lunch; going to the store with a list for the grocer; or visiting his grandfather's grave overlooking the seaseveral predominantly black two-page spreads, vigorously textured strokes of black and gray adding weight, are woven into the narrative, reminding readers that deep down, the miners are digging for coal. A particularly poignant spread depicts the front door of the house in a wordless series, the angle of the sunlight showing time going by; in the last image the door is opening, and the narrator's father is home at last. A quiet book that will stay with readers long after they have closed it. (Picture book. 5-8) Copyright Kirkus Reviews, used with permission.