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Sunday, February 3, 2013

The Runaway Bunny


"The Runaway Bunny" by Margaret Wise Brown.
Read Along by ReadaRoo Kids.

      Margaret Wise Brown (May 23, 1910 – November 13, 1952) was a prolific American author of children's literature, including the books Goodnight Moon and The Runaway Bunny, both illustrated by Clement Hurd.
      The middle child of three whose parents suffered from an unhappy marriage, Brown was born in the Greenpoint neighborhood of Brooklyn, New York, granddaughter of Benjamin Gratz Brown. In 1923 she attended boarding school in Woodstock, Connecticut, while her parents were living in Canterbury. She began attending Dana Hall School in Wellesley, Massachusetts, in 1926, where she did well in athletics. After graduation in 1928, Brown went on to Hollins College in Roanoke, Virginia.
      Following her graduation with a B.A. in English from Hollins in 1932, Brown worked as a teacher, and also studied art. It was while working at the Bank Street Experimental School in New York City that she started writing books for children. Her first book was When the Wind Blew, published in 1937 by Harper & Brothers.
      Brown then went on to develop her Here and Now stories, and later the Noisy Book series while employed as an editor at William R. Scott. Her popular book The Little Fur Family, illustrated by Garth Williams, was published in 1946. Also in 1946, Brown wrote The Little Island and Little Lost Lamb, both under the pseudonym Golden MacDonald and illustrated by Leonard Weisgard. The former won a Caldecott Honor recognition in 1946 and the latter the Caldecott Medal in 1947. In the early 1950s, she wrote several books for the Little Golden Books series including The Color Kittens, Mister Dog and Scuppers The Sailor Dog.
      In 1952, Brown met James Stillman 'Pebble' Rockefeller Jr. at a party, and they became engaged. Later that year, while on a book tour in Nice, France, she unexpectedly died at 42 of an embolism, two weeks after emergency surgery for an ovarian cyst. (Kicking up her leg to show the doctor how well she was feeling ironically caused a blood clot that had formed in her leg to dislodge and travel to her heart.) By the time of Brown's death, she had authored well over one hundred books. Her ashes were scattered at her island home, "The Only House" in Vinalhaven, Maine.
      Brown left behind over 70 unpublished manuscripts. Her sister, Roberta Brown Rauch, after unsuccessfully trying to sell them, kept them in a cedar trunk for decades. In 1991, Amy Gary of WaterMark Inc., rediscovered the paper-clipped bundles of the more than 500 typewritten pages and set about getting the stories published.
      Many of Brown's books have been re-released with new illustrations decades after their original publication. Many more of her books are still in print with the original illustrations. Her books have been translated into several languages; biographies on Brown for children have been written by Leonard S. Marcus (Harper Paperbacks, 1999) and Jill C. Wheeler (Checkerboard Books, 2006). Have a Carrot, a Freudian analysis of her "classic series" of bunny books has been written by Claudia H. Pearson (Look Again Press, 2010).

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The Country Bunny and the Little Gold Shoes


"The Country Bunny and The Little Golden Shoes"
Readaloud from Grandma's House YouTube.

      Edwin DuBose Heyward wrote the children's book The Country Bunny and the Little Gold Shoes (1939).
      Heyward was born in 1885 in Charleston, South Carolina. He was a descendant of Judge Thomas Heyward, Jr., a South Carolina signer of the United States Declaration of Independence.
      As a child and young man, Heyward was frequently ill. He contracted polio when he was eighteen, then two years later contracted typhoid fever and the following year fell ill with pleurisy. Although he described himself as " a miserable student" who was uninterested in learning, and dropped out of high school in his first year at age fourteen, he had a lifelong and serious interest in literature. He passed the time in his sickbed writing verses and stories.

The Tales of Uncle Remus by Jerry Pinkney

Get ready for all of the laughs, adventure and hip-hopping good times in this all-new imaginative and modern retelling of Uncle Remus' best-loved tales. Parents and kids alike will delight in the escapades of the most mischievous and clever Brer Rabbit as he gleefully outwits Brer Fox, Brer Bear and a whole cast of other critters! With irresistible and toe-tapping new songs and an all-star lineup of voice talent (Wayne Brady, Nick Cannon, Danny Glover, D.L. Hughley and Wanda Sykes), The Adventures of Brer Rabbit is sure to be a family favorite for years to come!

      Uncle Remus is a fictional character, the title character and fictional narrator of a collection of African-American folktales adapted and compiled by Joel Chandler Harris, published in book form in 1881. A journalist in post-Reconstruction Atlanta, Georgia, Harris produced seven Uncle Remus books.
      Uncle Remus is a collection of animal stories, songs, and oral folklore, collected from Southern United States African-Americans. Many of the stories are didactic, much like those of Aesop's Fables and the stories of Jean de La Fontaine. Uncle Remus is a kindly old former slave who serves as a storytelling device, passing on the folktales to children gathered around him.

Joel Chandler Harris
     
Harris created the first version of the Uncle Remus character for the Atlanta Constitution in 1876 after inheriting a column formerly written by Samuel W. Small, who had taken leave from the paper. In these character sketches, Remus would visit the newspaper office to discuss the social and racial issues of the day. By 1877 Small had returned to the Constitution and resumed his column.
      Harris did not intend to continue the Remus character. But when Small left the paper again, Harris reprised Remus. He realized the literary value of the stories he had heard from the slaves of Turnwold Plantation. Harris set out to record the stories and insisted that they be verified by two independent sources before he would publish them. He found the research more difficult given his professional duties, urban location, race and, eventually, fame.
      On July 20, 1879, Harris published "The Story of Mr. Rabbit and Mr. Fox as Told by Uncle Remus" in the Atlanta Constitution. It was the first of 34 plantation fables that would be compiled in Uncle Remus: His Songs and His Sayings (1880). The stories, mostly collected directly from the African-American oral storytelling tradition, were revolutionary in their use of dialect, animal personages, and serialized landscapes.
       Remus' stories featured a trickster hero called Br'er Rabbit ("Brother" Rabbit), who used his wits against adversity, though his efforts did not always succeed. Br'er Rabbit is a direct interpretation of Yoruba tales of Hare, though some others posit Native American influences as well. The scholar Stella Brewer Brookes asserts, "Never has the trickster been better exemplified than in the Br'er Rabbit of Harris." Br'er Rabbit was accompanied by friends and enemies, such as Br'er Fox, Br'er Bear, Br'er Terrapin, and Br'er Wolf. The stories represented a significant break from the fairy tales of the Western tradition: instead of a singular event in a singular story, the critters on the plantation existed in an ongoing community saga, time immemorial.
      Harris described Harriet Beecher Stowe's novel, Uncle Tom's Cabin, as a major influence on the characters of Uncle Remus and the Little Boy. When he read Stowe's novel in 1862, he said that it "made a more vivid impression upon my mind than anything I have ever read since." Interpreting Uncle Tom's Cabin as a "wonderful defense of slavery," Harris argued that Stowe's "genius took possession of her and compelled her, in spite of her avowed purpose, to give a very fair picture of the institution she had intended to condemn." In Harris's view, the "real moral that Mrs. Stowe's book teaches is that the. . . realities [of slavery], under the best and happiest conditions, possess a romantic beauty and tenderness all their own."
      The Uncle Remus stories garnered critical acclaim and achieved popular success well into the 20th century. Harris published at least twenty-nine books, of which nine books were compiled of his published Uncle Remus stories, including Uncle Remus: His Songs and His Sayings (1880), Nights with Uncle Remus (1883), Uncle Remus and His Friends (1892), The Tar Baby and Other Rhymes of Uncle Remus (1904), Told by Uncle Remus: New Stories of the Old Plantation (1905), Uncle Remus and Brer Rabbit (1907). The last three books written by Joel Chandler Harris were published after his death which included Uncle Remus and the Little Boy (1910), Uncle Remus Returns (1918), and Seven Tales of Uncle Remus (1948). The tales, 185 in sum, became immensely popular among both black and white readers in the North and South. Few people outside of the South had heard accents like those spoken in the tales, and the dialect had never been legitimately and faithfully recorded in print.
      To Northern and international readers, the stories were a "revelation of the unknown." Mark Twain noted in 1883, "in the matter of writing [the African-American dialect], he is the only master the country has produced."
      The stories introduced international readers to the American South. Rudyard Kipling wrote in a letter to Harris that the tales "ran like wild fire through an English Public school.... [We] found ourselves quoting whole pages of Uncle Remus that had got mixed in with the fabric of the old school life." The Uncle Remus tales have since been translated into more than forty languages.
      James Weldon Johnson called the collection "the greatest body of folklore America has produced."

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Significance of The Donkey On Palm Sunday

      Donkeys (or asses) are mentioned many times in the Bible, beginning in the first book and continuing through both Old and New Testaments, so they became part of Judeo-Christian tradition. They are portrayed as work animals, used for agricultural purposes, transport and as beasts of burden, and terminology is used to differentiate age and gender. In contrast, horses were represented only in the context of war, ridden by cavalry or pulling chariots. Owners were protected by law from loss caused by the death or injury of a donkey, showing their value in that time period. Narrative turning points in the Bible (and other stories) are often marked through the use of donkeys - for instance, leading, saddling, or mounting/dismounting a donkey are used to show a change in focus or a decision having been made. They are used as a measure of wealth in Genesis 30:43, and in Genesis chapter 34, the prince of Shechem (the modern Nablus) is named Hamor ("donkey" in Hebrew).
      According to Old Testament prophesy, the Messiah is said to arrive on a donkey: "Behold, your King is coming to you; He is just and having salvation, Lowly and riding on a donkey, A colt, the foal of a donkey!" (Zechariah 9:9). According to the New Testament, this prophesy was fulfilled when Jesus entered Jerusalem riding on the animal (Matthew 21:4-7, John 12:14-15). Jesus was aware of this connection (Matthew 21:1-3, John 12:16).
      In the Jewish religion, donkeys are not a kosher animal. They are considered avi avot hatuma or the ultimate impure animal, and doubly "impure", as they are both non-ruminants and non-cloven hoofed. However, they are the only impure animal that is falls under the mitzvah (commandment) of firstborn ("bechor") consecration that also applies to humans and pure animals. In Jewish Oral Tradition ( Talmud Bavli), the son of David was prophesied as riding on a donkey if the tribes of Israel are undeserving of redemption.

Jesus Comes to Jerusalem as King: Matthew 21 from (NIV)

21 As they approached Jerusalem and came to Bethphage on the Mount of Olives, Jesus sent two disciples, saying to them, “Go to the village ahead of you, and at once you will find a donkey tied there, with her colt by her. Untie them and bring them to me. If anyone says anything to you, say that the Lord needs them, and he will send them right away.”
This took place to fulfill what was spoken through the prophet:
“Say to Daughter Zion,
    ‘See, your king comes to you,
gentle and riding on a donkey,
    and on a colt, the foal of a donkey.’”
The disciples went and did as Jesus had instructed them. They brought the donkey and the colt and placed their cloaks on them for Jesus to sit on. A very large crowd spread their cloaks on the road, while others cut branches from the trees and spread them on the road. The crowds that went ahead of him and those that followed shouted,
“Hosanna to the Son of David!”
“Blessed is he who comes in the name of the Lord!”
“Hosanna in the highest heaven!”
10 When Jesus entered Jerusalem, the whole city was stirred and asked, “Who is this?”
11 The crowds answered, “This is Jesus, the prophet from Nazareth in Galilee.”
 
LIFE A JOURNEY

       Life is a journey, the end is nearing. It is a race, the goal will soon be reached. It is a voyage, the port will soon be in sight. Time is but a narrow isthmus between two eternities. You are going surely How many things you have already left behind!—the old home, friends, parents, scenes of childhood and early years. How much of the way you have passed over! You will never return to the place from which you started. You are going on, and on, and away from all your early years. It is a startling thought, that our business will soon be left behind; that our work will be done, and that we shall leave this stage of being—leave it forever—our homes and cares, and all the interests that engage us here, and never more come back. It is an amazing thought that we, if we are Christians, shall soon be in heaven. Think of it! Time and all its opportunities passed forever! The suns and moons and stars all behind us; springs and summers and autumns all gone; the sights and sounds of earth all passed away! Soon—very soon—shall we be in heaven. We shall see God, we shall behold Christ in His glory, we shall look upon the angels. Mothers will be searching for their children, and husbands and wives will find each other; and all hands, parted in Christ, will be clasped again. It is like coming into port after an ocean voyage. The shining shore-line, how it grows on the waiting eye! The joy will be like that with which the Crusaders first saw Jerusalem. Rev. C. L Goodell, D. D.

The Velveteen Rabbit

cover illustrated by Michael Green
      The Velveteen Rabbit (or How Toys Become Real) is a children's novel written by Margery Williams and illustrated by William Nicholson. It chronicles the story of a stuffed rabbit and his quest to become real through the love of his owner. The book was first published in 1922 and has been republished many times since.
      The Velveteen Rabbit was Williams' first children's book. It has been awarded the IRA/CBC Children's Choice award. Based on a 2007 online poll, the National Education Association named the book one of its "Teachers' Top 100 Books for Children."
      A stuffed rabbit sewn from velveteen is given as a Christmas present to a small boy, but is neglected for toys of higher quality or function, which shun him in response. The rabbit is informed of magically becoming Real by the wisest and oldest toy in the nursery as a result of extreme adoration and love from children, and he is awed by this concept; however, his chances of achieving this wish are slight.
      One night, after the boy has misplaced his cherished china dog, he is pacified through the presence of the rabbit, who attracts more attention from his owner from then onward as a result, to the extent of his promotion to the position of the child's favorite toy. However, when the toy rabbit's owner contracts scarlet fever, he is prescribed a trip to the seashore and is pacified upon receiving a stuffed rabbit of higher quality as a replacement for the Velveteen Rabbit, which must be burned alongside all of the other playthings due to potential bacteria. Before the rabbit can meet a painful demise, he is greeted by the Nursery Fairy, who transforms him into a living rabbit to spare him from an agonizing fate, as he'd acquired greater affection from the boy than all of the other toys and surpassed all qualifications required. The rabbit accompanies several others in rejoicing, gleefully upon having received his dream.

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"When a child loves you for a long, long time, not just to play with, but really loves you, then you become Real." Margery Williams' enchanting story about a toy rabbit will live forever in the annals of children's literature, coming alive through this unforgettable rendition. " Told by Meryl Streep, Music by George Winston, Illustrated by David Jorgensen