Tuesday, December 6, 2011

Rapunzel's Revenge by Dean and Shannon Hale

Module 6 - Poetry, Drama, Media, & Graphic Novels

"Read three of the following selections:"

Plot Summary

Rapunzel has been raised in her mother's extensive walled castle, befriending and playing with the guards and staff through the years. As she grows, so does her curiosity for what lies beyond the walls until she finally finds a way over and discovers that her mother is not the woman she has grown up with, but is instead one of the mining slaves outside the wall. As punishment for her escape, she is taken to the woods and imprisoned in a living tower for many years. When she finally stands up to her kidnapper, Mother Gothel, her prison turns against her and she must escape. Following her escape, she vows to find her real mother and bring revenge upon Mother Gothel. Shortly after her escape, she befriends Jack and the two of them travel together through various misadventures to find Rapunzel's mother and seek revenge.

Critical Analysis

The setting of this tale is unique among Rapunzel stories. The placement in the wild west lends a new dialect to the telling of this traditional story. The language chosen also conveys this setting for us through slang and word choices, as is evident in Rapunzel's exclamation when she makes it over the wall, "Well I'll be swigger-jiggered and hung out to dry," or her narration of her time in the tower, "To keep from going batty, I made use of my dratted hair."

The characters are essential to the story, as Gothel, the evil witch, in this version is depleting the surrounding land of its ability to sustain life. Without this magical ability, the story would be fundamentally altered. Rapunzel, is of course a required element to any retelling of the tale. She and her hair play the central role. The adaptation of her locks into a lasso and whip are also essential to the wild west period feel of the story. She ceases to be a damsel in distress and instead takes control of her own fate.

The brightly colored panels convey the setting and emotions of the characters well. Flashback scenes appear in a faded sepia tone to indicate age and reminiscence. The layout, in typical comic book style, take advantage of different panel shapes and layouts on the pages to speed the reader along or to slow them down through important moments. The frames are even broken at times, as when Rapunzel first ever uses her hair as a weapon to intervene in a bar brawl. She SNAPs her hair at the edge of a panel, and the results of that are shown in the panel itself.

Bibliography

Hale, Shannon, Dean Hale, and Nathan Hale. Rapunzel's revenge. New York, N.Y.: Bloomsbury, 2008. ISBN 9781599900704.


Reviews

From Publishers Weekly:
The popular author of Princess Academy teams with her husband and illustrator Hale (no relation) for a muscular retelling of the famously long-haired heroine's story, set in a fairy-tale version of the Wild West. The Hales' Rapunzel, the narrator, lives like royalty with witchy Mother Gothel, but defies orders, scaling villa walls to see what's outside--a shocking wasteland of earth-scarring mines and smoke-billowing towers. She recognizes a mine worker from a recurrent dream: it's her birth mother, from whom she was taken as punishment for her father's theft from Mother G.'s garden. Their brief reunion sets the plot in motion. Mother G. banishes Rapunzel to a forest treehouse, checking annually for repentance, which never comes. Rapunzel uses her brick-red braids first to escape, then like Indiana Jones with his whip, to knock out the villains whom she and her new sidekick, Jack (of Beanstalk fame), encounter as they navigate hostile territory to free Rapunzel's mom from peril. Illustrator Hale's detailed, candy-colored artwork demands close viewing, as it carries the action--Rapunzel's many scrapes are nearly wordless. With its can-do heroine, witty dialogue and romantic ending, this graphic novel has something for nearly everybody.
From VOYA:
This version of the classic fairy tale Rapunzel is set in the old Southwest, complete with cowboys, coal mines, and coyotes. Rapunzel is a young girl living in a fortress with Mother Gothel, an enchantress who can make plants grow at her whim. Although their home is overflowing with fruits and flowers, it is surrounded by a wall that masks the desert and coal mines outside-Gothel owns everything, and the native people depend on her good will to keep their crops growing. When Rapunzel sneaks over the wall on her twelfth birthday, she sees the desolate world over which Mother Gothel rules, and she meets her real mother who was forced to give Rapunzel to Gothel at birth. To punish her curiosity, Gothel imprisons Rapunzel inside an enchanted tree that has only one window, far above the ground. Just as in the original version, Rapunzel's hair grows prodigiously. But this girl does not need a prince to climb up and rescue her. She uses her braid as a lasso to escape the tree and goes on many adventures that lead her ultimately to reunite with her mother and find true love in a boy named Jack, whose companion is an uncooperative goose. The Hale team creates an engaging heroine. Rapunzel gallivants across the unexpected setting, meets a cast of characters both humorous and threatening, and in the end comes to inherit the land that Gothel had stripped of life and returns it to the native people. This novel presents entertaining girl power at its quirkiest.-Laura Lehner.
From School Library Journal:
This is the tale as you've never seen it before. After using her hair to free herself from her prison tower, this Rapunzel ignores the pompous prince and teams up with Jack (of Beanstalk fame) in an attempt to free her birth mother and an entire kingdom from the evil witch who once moonlighted as her "mother." Dogged by both the witch's henchman and Jack's outlaw past, the heroes travel across the map as they right wrongs, help the oppressed, and generally try to stay alive. Rapunzel is no damsel in distress--she wields her long braids as both rope and weapon--but she happily accepts Jack¿s teamwork and friendship. While the witch¿s castle is straight out of a fairy tale, the nearby mining camps and rugged surrounding countryside are a throwback to the Wild West and make sense in the world that the authors and illustrator have crafted. The dialogue is witty, the story is an enticing departure from the original, and the illustrations are magically fun and expressive. Knowing that there are more graphic novels to come from this writing team brings readers their own happily-ever-after.--Cara von Wrangel Kinsey, New York Public Library
From Booklist:
This graphic novel retelling of the fairy-tale classic, set in a swashbuckling Wild West, puts action first and features some serious girl power in its spunky and strong heroine. Young Rapunzel lives a lonely life, never knowing what lies beyond the high garden walls of her mother's royal villa until one day she climbs the wall to see what's on the other side. When she finds that the world outside is a dark place oppressed by her mother's greed for power and uncovers the real secret of her own birth, she is imprisoned in a magic tree tower. In her years of captivity, she learns a lot about self-reliance and care for her exceptionally long hair, and eventually she is able to escape, vowing to bring down her mother's cruel empire. Hale's art matches the story well, yielding expressive characters and lending a wonderful sense of place to the fantasy landscape. Rich with humor and excitement, this is an alternate version of a classic that will become a fast favorite of young readers.--Coleman, Tina

Crank by Ellen Hopkins

Module 6 - Poetry, Drama, Media, & Graphic Novels

"Read three of the following selections:"

Plot Summary

Crank follows Kristina's descent into addiction. Sent to spend time with her father in Reno, Nevada for the summer, Kristina releases a repressed side of herself in her character of Bree. Romance buds from day one in Reno as Kristina runs into (insert name here) and feels instant attraction. He shows her the thrills of taking meth, and they spend the summer in and out of a complicated romance with each other and meth. When Kristina finally returns home to her mother and the rest of her family, she closets her desire for meth, but eventually finds an avenue through boys and friends to continue her affair with the monster. Her long distance relationship does not hold up, and she begins to explore other relationships. She later finds she is pregnant, but the math suggests that the father is a boy who raped her rather than the boy who becomes her boyfriend.

Critical Analysis

Hopkins' poems pile layer upon layer within each single page. The free verse style leaves a lot of room for additional meanings to be inserted through the visual form or the lyrical forms. In many of the poems Hopkins will layer an additional meaning by distancing the last word or words from each verse and lining them up to the side. When read together, these last words take on their own meanings beneath or around the full text of their originating poem. For example, in the poem Introduction, the words set aside become, "I am. the face in the mirror only not. I swerved recklessly picked up speed to madness." The poem itself covers much more than just that, but the essence of the poem is distilled into those words and then set aside for convenience.

Kristina's removal from her usual surroundings and placement in a new city with new people allows her to reinvent herself. This change of setting is essential for her character split. This Kristina/Bree dichotomy brings concrete form to the split that many teenagers may feel between who others think they are and who they feel they are. The unsavory characters which she falls in with in Reno are also essential to drag her into the drug scene. If she remained as Kristina in her hometown, she would continue with her existing connections and wouldn't be as likely to fall in with the wrong crowd because of her community ties. The drug connections she finds when she returns to her hometown are accessible to her because she has already become Bree and interacts with them on Bree's terms rather than as Kristina.

The purpose of this verse novel is very much to discourage teens from using drugs, and it is quite obvious in the way the events play out. The accidental pregnancy and lapses into using methamphetamines during the remainder of the pregnancy sets up the next novel to didactically describe the developmental problems for the child as a result of the mother's actions. The VOYA reviewer compares Crank to the rather didactic Go Ask Alice, but thinks "perhaps this more modern version will be more accessible to today's teens."

Bibliography

Hopkins, Ellen. Crank. New York: Margaret K. McElderry Books, 2010. ISBN 9781416995135.


Reviews

From Kirkus:
Hypnotic and jagged free verse wrenchingly chronicles 16-year-old Kristina's addiction to crank. Kristina's daring alter ego, Bree, emerges when "gentle clouds of monotony" smother Kristina's life—when there's nothing to do and no one to connect with. Visiting her neglectful and druggy father for the first time in years, Bree meets a boy and snorts crank (methamphetamine). The rush is irresistible and she's hooked, despite a horrible crank-related incident with the boy's other girlfriend. Back home with her mother, Kristina feels both ignored and smothered, needing more drugs and more boys—in that order. One boy is wonderful and one's a rapist, but it's crank holding Bree up at this point. The author's sharp verse plays with spacing on the page, sometimes providing two alternate readings. In a too brief wrap-up, Kristina keeps her baby (a product of rape) while Hopkins—realistically—offers no real conclusion. Powerful and unsettling.
From Publishers Weekly:
Nonfiction author Hopkins pens her first novel, written in verse, introducing 15-year-old narrator Kristina, who reveals how she became addicted to crank, and how the stimulant turned her from straight-A student to drug dealer, and eventually a teen mom. On a court-ordered visit to see her slimy and long-absent dad, she meets-and is instantly attracted to-Adam, who sports a "tawny six pack,/ and a smile." Soon, Adam introduces her to "the monster" (there, she also unleashes a new personality, id-driven Bree). Her addiction grows, as does Bree's control. Readers get a vivid sense of the highs and lows involved with using crank ("I needed food, sleep,/ but the monster denied/ every bit of it"). Her life changes quickly: Soon she's dating two guys, both of whom use crank; says "Fuck you" to her mom, can't keep up with school, and loses her old friends. There are plenty of dramatic moments: The first time she does crank, for example, her dad joins her. That same night, she stumbles into a bad area and is almost raped, and Adam's girlfriend tries to kill herself. Later in the book, she does get raped and starts selling the drug for the Mexican Mafia. Readers will appreciate the creative use of form here (some poems, for instance, are written in two columns that can be read separately or together), and although the author is definitely on a mission, she creates a world nearly as consuming and disturbing as the titular drug.
From VOYA:
Various styles of free verse and shape poems tell the story of Kristina, a quiet high school junior who, as with many teens, often feels like a stranger to herself and wants to test her limits. While visiting her deadbeat dad in Albuquerque, Kristina meets Adam and feels something stir, like a breeze blowing up off the evening sea. She says, My wind had awakened. To deal with these new and alien feelings, Kristina calls herself Bree and begins to think of herself as two separate people: Kristina is perfect, smart, and in control, but Bree gives her the courage to be wild, spontaneous, and a risk-taker. Adam introduces Kristina to crank or crack for the first time, and of course, she falls under its addictive and dangerous spell. After returning home to Reno, she tries to hide Bree from her family, but late nights out partying and long days sleeping off the effects soon raise their suspicions. The story reaches its climax when Kristina becomes pregnant as a result of being date-raped under the influence. Deciding to keep the baby is a courageous choice, but readers understand that Kristina's eternal struggle will be against the temptation of using crack. Although novels in verse are not new anymore, this one still works. Hopkins delivers a gritty, fast-paced read while effectively portraying the dangers of substance abuse without sounding pedantic or preachy. Teens will relate to Kristina's desire to experiment as well as her difficulty balancing conflicting feelings. Similarities to Go Ask Alice (Simon & Schuster, 1971) are undeniable, but perhaps this more modern version will be more accessible to today's teens.-Valerie Ott.
From School Library Journal:
Seventeen-year-old Kristina Snow is introduced to crank on a trip to visit her wayward father. Caught up in a fast-paced, frightening, and unfamiliar world, she morphs into "Bree" after she "shakes hands with the monster." Her fearless, risk-taking alter ego grows stronger, "convincing me to be someone I never dreamed I'd want to be." When Kristina goes home, things don't return to normal. Although she tries to reconnect with her mother and her former life as a good student, her drug use soon takes over, leaving her "starving for speed" and for boys who will soon leave her scarred and pregnant. Hopkins writes in free-verse poems that paint painfully sharp images of Kristina/Bree and those around her, detailing how powerful the "monster" can be. The poems are masterpieces of word, shape, and pacing, compelling readers on to the next chapter in Kristina's spiraling world. This is a topical page-turner and a stunning portrayal of a teen's loss of direction and realistically uncertain future.-Sharon Korbeck, Waupaca Area Public Library, WI
From Booklist:
Like the teenage crack user in the film Traffic, the young addict in this wrenching, cautionary debut lives in a comfortable, advantaged home with caring parents. Sixteen-year-old Kristina first tries crank, or crystal meth, while visiting her long-estranged father, a crank junkie. Bree is Kristina's imagined, bolder self, who flirts outrageously and gets high without remorse, and when Kristina returns to her mother and family in Reno, it's Bree who makes connections with edgy guys and other crank users that escalate into full-blown addiction and heartrending consequences. Hopkins tells Kristina's story in experimental verse. A few overreaching lines seem out of step with character voices: a boyfriend, for example, tells Kristina that he'd like to wait for sex until she is free from dreams of yesterday. But Hopkins uses the spare, fragmented style to powerful effect, heightening the emotional impact of dialogues, inner monologues, and devastating scenes, including a brutal date rape. Readers won't soon forget smart, sardonic Kristina; her chilling descent into addiction; or the author's note, which references her own daughter's struggle with the monster. --Gillian Engberg

Metamorphosis by Betsy Franco

Module 6 - Poetry, Drama, Media, & Graphic Novels

"Read three of the following selections:"

Plot Summary

Through journal entries, drawings, and inspired poems, our narrator Ovid relates his tumultuous junior year of high school. His sister has left and now his parents are cracking down on his freedoms in an attempt to make up for things they felt they did wrong with her. As Ovid makes revelations about his peers throughout the year, they each get a poem penned to them comparing them to the mythological being they most resemble. Ovid keeps his self-flagellation habits in the closet, and by the end as he goes through his metamorphosis indicates that period of his life may be done.

Critical Analysis

There are a lot of deep subjects only briefly touched upon in this novel. Ovid self-flagellates, but his friends around him each have their own problems too. Alexis smokes weed, Nathaniel cuts himself, Myrra was raped by her father, and there are many other huge revelations about the deep secrets of his peers throughout the book. However, each one of them only gets a few pages of mention, maybe a poem, before the narrative moves on to the next point of interest. This lack of depth leaves a lot of questions about each character, even as it also reveals them.

The setting of this novel at an average high school in contemporary times gives Ovid a lot of resources for art and transportation and communication. If the setting were adjusted, the characters might change slightly, but the general plot and format could remain the same. The description of each friend as a different character from mythology and presentation of this in poetic format could be done in any setting. The small community semi-urban California setting brings in a variety of experiences for each of the characters, which Ovid relates through his journaling and poetry.

Ovid spends a good portion of the narrative longing for the girl Mei. When he gets up the nerve to ask him out, but she rejects him, Ovid reveals the conversation with the voices in his head. After he tells them to "SHUT UP!" he re-evaluates his situation and comes to a revelation. The completion of Ovid's metamorphosis is revealed through his epiphany, "The whole thing suddenly didn't seem worth beating myself up over. It just didn't. Not this time, anyway." However, this gets such a small treatment within the book, that readers might walk away wondering what the metamorphosis was and when it happened.

I'm not entirely up to speed on all of the mythologies and the original Ovid's writings, but this book would provide a good jumping off point for students to delve into the original Roman mythologies to see where characters and events might line up. The descriptions of the teens as modern day interpretations of various mythical beings is engaging. The author includes a few pages at the end to describe the historical Ovid and his works which helps to understand the historical context which the character Ovid would have gained through his own reading. Readers could then, if they wanted, explore the original Ovid's writings or further historical writings.

Bibliography

Franco, Betsy, and Tom Franco. Metamorphosis: junior year. Somerville, Mass.: Candlewick Press, 2009. ISBN 9780763637651.


Reviews

From Kirkus:
Since his brilliant, meth-addict sister, Thena, ran away from home, Ovid just wants his now-overprotective parents off his back, to express his art freely, to understand why he wants to hurt himself secretly and to make sense of high school. Other juniors "wrestling with the messes the gods got us into" include musician Orpheus, obsessed with his girlfriend; incest victim Myrra, trying to find what's left of the girl in her; Alexis, a female Icarus flying too high on weed; and Sophie and Caleb, a cyber Psyche and Cupid. Like his Roman namesake, Ovid captures it all in his private notebook, filled with prose entries in realistic teenspeak, beautifully crafted poems that provide a back story and surreal black-line illustrations, which the author's son reworked from his own high-school notebooks. While the brevity of Franco's first YA novel may disappoint readers who want these archetypal yet complex characters in more detail, this accessible, modern retelling resembles the original by springing from story to story and exploring love and its ability to confound all reason.
From VOYA:
Ovid is an ordinary high school junior with an extraordinary name. Back when his parents were much more carefree, they named him after the Roman poet, and he has paid for it his entire life. But the event that really turned his life upside down was the disappearance of his drug-addicted sister, Thena. Suddenly Ovid receives all of his parents' attention and is being forced to fulfill their frustrated ambitions for his sister. All Ovid wants is to write, draw, sculpt, and hang out with his friends. And because he is Ovid, many of his friends become to him Greek characters in their own modern-day myths. Suddenly they come alive in his poetry with names like Orpheus and Proserpina and in his art, exploding out of the mouths of bears and carrying homes on their backs. Franco takes Greek mythology and morphs it into a tale for today's world, complete with mistakenly dialed cell phones and teens animating the world around them. Although the book is brief, it is not an easy read because of the literary references and the large cast of characters. The art melds well with the story and the other way around. Ultimately it is about being accepted for who you are, regardless of the century you live in. -Lynn Evarts.
From School Library Journal:
Franco pays homage to the poet Ovid's retelling of Roman myths. Her Ovid, a high school junior, is a budding, brooding artist, still reeling from the departure of his meth-addicted sister. His formerly permissive parents are smothering him with concern and attention as they desperately try to ensure that he does not travel the same road as Thena. Ovid writes poems about and draws his high school as Roman myths with students and adults playing the parts of Pluto, Midas, Athena, Ceres, Proserpina, and a host of others. Only readers well versed in mythology will catch all of the references. Mere mortals will need a handy reference source to get the full impact. The pen-and-ink drawings are interesting but sometimes border on the bizarre and don't all fit smoothly into the story. Regardless of readers' levels of knowledge of Roman religion, the story of a teen feeling imprisoned by overly concerned parents and abandoned by an addicted sibling will resonate with many young adults.-Anthony C. Doyle, Livingston High School, CA
From Booklist:
Seems like we're all just groping our way through a labyrinth, fighting our personal minotaurs, morphing into who we really are. Lots of YA novels explore archetypal myths in ordinary life. Here, the cool teen narrator, Ovid, may be on Facebook or texting his high-school friends in northern California, but he also recognizes the parallels between his life and classical mythology. Franco blends references to the classical canon with fast free verse and casual prose, and the wry combination of contemporary technology and archetypes will appeal to teens, even if they don't get all the nods to the mythical stories. One character resembles a female Icarus, ready to crash and burn after a meltdown, and Ovid's own sister, hooked on drugs, is part of a tragedy of mythical proportions. Occasional ink drawings mix human and animal elements, as in the hilarious view of a platypus doing yoga, and show the wildness in everyone.--Rochman, Hazel