One Foot, Then Another

The Dissolution of Wall Street (M.A. Reilly, 2009)

A simple thought for the day:

Writing Well Begins With Critical Reading: Talking Back to Scripted Programs

Pandora Story Map Based on Kimmell Version of the Myth

I. Greek Mythology Unit Designed by Teachers

For the last few weeks I have been working with a group of fourth grade teachers.  We co-designed a unit of study focusing on Greek Mythology that embedded reading, writing, speaking-listening, and language standards throughout the unit. Students had the opportunity and responsibility to listen to, read and view Greek myths--and to respond to those texts through discussion and writing. 

Through interactive read aloud with an emphasis on critically retelling and vocabulary development, and through guided reading that privileged comprehension conversations students read deeply.  They also engaged in shared, guided, and independent writing. Students were able to demonstrate a keen understanding of what they heard, read, and viewed through their whole class, small group and partner discussions and their writings.  Students heard, read and viewed multiple versions of each myth (print, visual arts, and video). This allowed them to compare versions and to complicate their understanding. This critical reading work represented the foundation that students' writings rested upon.


II. Anchoring What Is Heard/Viewed/Read

In order to anchor what was heard, viewed, and read--students created different types of story maps in response to the read aloud texts, such as the two Pandora story maps pictured here.  To analyze the myths, students first needed to be able to retell the story accurately.  It is impossible to analyze a text well if literal understanding is absent or faulty. Therefore, students with the help of their teachers, created a story map for each text. Teachers began this process by having students retell the myth. A deep retelling included:

Pandora Story Map Based on Burleigh/Colon Version of the Myth

1. Retell what happened.
2. Why it happened
3. The effect on the characters’ mental state
4. Be able to emphasize connections between earlier and later parts in the story.
5. Retell with emphasis on character insight, touching on genre-specific elements and attempting to use the vocabulary or figurative language used in the text.

They also created character analysis anchor charts focusing on explicating indirect methods of characterization by naming and then analyzing what a character does, thinks, and says and then asking what might be inferred.  For example, when studying the Pandora myth, the class created an anchor chart. They named Pandora's actions, thoughts and speech and then analyzed what might be inferred. What did Pandora's actions, thoughts, and speech reveal about her character? This work allowed them to later step into the character in response to a writing task (see below).

III. Writing Rests on Reading

After studying two or more versions of the Pandora story (read aloud and guided reading), students responded to the prompt pictured below by writing a narrative that continues the story.

First major writing task in the mythology unit.

Attempting to enter into the myth at the point depicted in the visual art required students to read the painting, to consider the two or more versions of the story they had read, and to think about the inferences they had made in order to craft a believable text. I want to emphasize that no graphic organizers were used or needed during the writing because students deeply understood the myth.  Instead of some formula to guide their writing, students rested their work on what they had read and analyzed. By critically reading, discussing and writing they had already walked in Pandora's shoes. Because students had so closely studied different versions of the myth and had analyzed the characters--their responses were well grounded.

Standard W.4.9a asks students "to draw evidence from literary texts to support analysis, reflection, and research." Specifically, students are asked to "[a]pply grade 4 Reading standards to literature (e.g., “Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text [e.g., a character’s thoughts, words, or actions].”).  To do this well, students needed to use their knowledge of Pandora through the analyses they had done, drawing on specific details from one or more versions of the myth in order to extend the story.  Let's look closely at how one student did this.

IV. Studying One Student's Writing

Below is an example of one student's response (Catherine Esteves) from Jacqueline Peguero's fourth grade classroom in Newark, NJ.   Notice how the details Catherine crafts fits with the tone of the myth and re-establishes a credible setting ("Darkness circled around me..."). Notice how Catherine uses story language ("Then I sank into a deep sleep.") to forward the narrative. Notice her diction ("bat-like creatures hurrying," "ropes loosened") and the blend of narration and dialogue to forward the plot.  In Catherine's guided reading work she read Nathaniel Hawthorne's story, The Paradise of Children, and we can see how she borrows from Hawthorne's retelling of Pandora by having Epimetheus assume some of the blame for releasing evil into the world, as well. She also draws from the painting by Gerhartz by referencing the flowers. Yet she doesn't merely mimic what she has read or viewed for in Catherine's version she couples together the goodness of the world by having Love, Kindness, Grace and Caring (to name but a few) join Hope--thereby resettling the world. As Catherine has learned through reading, she closes her version of the myth with a statement to her reader: Remember, good will always be stronger and have more power than bad. We sense the author behind the work.

Page 1 from Catherine's writing.

Page 2 from Catherine's writing.

Through diction and character action, Catherine crafts a believable and controlled piece of writing that helps us to understand the painting and the written myths more fully. 

V. When Teachers Author

I have had the pleasure of working as an external consultant with Jackie and her colleagues (Waleska Burgos and John Feinstein) for the last few years.  In a conversation with Jackie a week ago she mentioned that her students' parents were commenting on how much their children were enjoying the mythology unit.  Jackie said that what surprised her the most was that parents had nothing to say during the Expeditionary Learning module they had done earlier in the year and that made her wonder how well that work had been received. 

When teachers author academic studies they can better respond to what emerges as well as build from one portion of the year to the next and from year to year. We had decided to write our own unit in order to replace an Expeditionary Learning (EL) module as the teachers and I thought that the EL work was not sturdy enough academically (especially with regard to writing and deep analysis), nor could a unit made by another in an earlier time and place be responsive to emerging academic and social needs and strengths we saw occurring with the children. We also wanted to ensure that students continued to explore mythology. 

Kindergarten children at these schools are listening to folk tales through read alouds and beginning in first grade students begin reading traditional literature in guided reading. These reading efforts are supported through read aloud units in grades 1, 2, and 3. In first grade, children are introduced to cautionary tales (Red Riding Hood versions), fables and tall tales in grade 2, and in grade 3 they study mythology generated by indigenous people. These earlier works set the stage for the work being conducted in grade 4. Alongside this work, teachers in earlier grades are able to help students respond to text through whole class shared writing and through guided practice during guided reading.  For example, in Suzanne Capuano's second grade I taught a small group of struggling reader last week. I taught the group in response to a concern Suzanne raised about the children's reading. She said that she noticed that the children were having difficulty remembering what they were reading during retelling. By identifying a learning challenge, Suzanne set the stage for us to problem solve.

During guided reading, I asked the students to respond to a Red Riding Hood story by charting the actions of the wolf or Red Riding Hood. The children read the text first and then during a rereading of the text, they partnered and completed the chart with guidance (see below). 

One of the teachers (grades 1, 2 an 3 teachers viewed) observing the lesson said that what was most notable was that the children's confidence increased  as did the lateral discussion that happened as the children worked through the text. The children knew they were successful, no gold star was necessary. 

Children in this class learned to think about what a character does and says during earlier read aloud units when their teacher created anchor charts that helped students to think about what a character says and does and what we infer based on those actions and speech. I built on that knowledge. Students also have daily opportunities to interpret what characters say as is evidence below in a second grader's response to a read aloud about Sonia Sotomayor.

Christopher's response to a quote from Jonah Winter's book about Sonia Sotomayor.

Christopher interprets through writing and drawing the quote: "Success comes to those who make the most of the chances they are offered in life."   He wisely tells us: "When you get chances that can change your life take risks. If you can't take (a) chance you might not succeed."

VI. Risk Taking

The weave among read aloud, guided and independent reading, and writing is critical and needs to be designed and organized by teachers who are working with children in the here and now--not by corporations who mass produce units of study and distributed them like cheap pens. We all ought to worry when we see teachers being confined to enacting scripted programs, not simply because the programs may or may not be lacking, but more importantly authoring is a critical and necessary practice for teaching and learning. At the schools where Jackie, Waleska, John and Suzanne work they are provided with the professional respect by their leadership to think, design, and redesign. Excellence does not come by handing teachers already completed units of study and limiting them to merely enacting them. This is a grave error.  We need to follow Christopher's advice and take risks.  'Fool' proofing curriculum is an epic failure. 

The Power of Words

An interesting way to engage students in persuasion and/or opinion writing.

Creating Anchor Comprehension Charts in Grade 2

In Teaching With Intention, Debbie Miller writes: 

“In our anchor classroom, evidence of student thinking was everywhere; anchor charts, student responses, and quotes adorned the walls and boards making thinking public and permanent. The questions, quotes, ideas, and big understandings displayed throughout the room reflected the real voices of real kids" (p. 61).

Anchor charts help to make our thinking visible. They are charts that are made with children and then displayed in the classroom so that they can be referred to by the teacher and the children when needed. In this post I outline three types of anchor charts that can be created with children to guide comprehension. Creating anchor comprehension charts with children helps them to understand complicated texts, compare texts, and be able to reference the learning these processes created when encountering new texts. 

1. Inquiry Charts

Inquiry charts, developed by James V. Hoffman, offer learners a method to deepen their understanding of text (print and multimedia) through comparative questioning and summarizing.  Below is a copy of a chart that could be used to study different versions of Jack and the Beanstalk. 

Notice that the I-Chart is organized by questions, including new questions that arise during the study. 

Example of Inquiry Chart for Jack in the Beanstalk Stories

How to use an inquiry chart

1. I like to create I-Charts with the whole class in grade 2. We cover a wall in the classroom with several sheets of large paper and after negotiating the questions we will study, the chart might look like the example above.  
2. I engage students in forming questions about the topic, but I do have several questions already pre-planned. Because second graders have been learning how to retell stories by including character motivation, the influence of setting on plot, how earlier events influence later outcomes, and genre-specific elements--our questions tend to reflect this knowledge.
3. We begin by recording what we already know about each question (when possible).
4. After the first read aloud, children work in small groups to a write a response to one of the questions.  I work with each group to revise (if needed) and to edit (almost always needed) the response. I then type and print the children's responses and post each on the I-chart. 
5. We usually then create some charts based on the text we have just read such as the characterization charts I write about at the end of this post. Prior to making these charts, we reread the text listening for what we are charting.
6. We reread the I-chart before I read the next text aloud. We continue the process of recording responses to the questions for each text, revising and editing, and then posting our responses.
7. We summarize our understandings. 

2. Comparative Charts

Illustrations: In addition to an Inquiry Chart, we can use a comparison anchor chart to guide children in their study of illustrations.  Again, using the Jack in the Beanstalk texts, we can pose a set of questions that guide children to name the similarities and differences with regard to illustrations used in each of the texts and explore how these illustrations help readers to comprehend.

Comparison Chart for Studying Illustrations

3. Characterization Anchor Charts

In addition to studying several Jack in the Beanstalk stories, students can use T-charts to study characterization that happens within a story.  Unlike the I-Chart and the Comparative Illustration chart which are whole group endeavors, I like to have students work with partners to complete these charts by rereading the texts. I do this after I have modeled this with a read aloud and then had students use the characterization charts during guided reading.  This practice helps them to work with a partner on these tasks and apply it to independent work.

Below are two charts that focus on what actions Jack takes and what we might infer and what Kate thinks and says and what we might infer.

Characterization Chart for Jack focusing on His Actions

Characterization Chart for Kate focusing on Her Thoughts and Speech

Creating anchor charts is an important aspect of literacy learning as the charts help to make thinking visible. 


Bibliography of Jack and the Beanstalk Stories

1. Bell, Anthea. (2000). Jack and the Beanstalk. Illustrated by Aljoscha Blau. New York: NorthSouth. (Older children)
2. Galdone, Paul. (2013). Jack and the Beanstalk. Boston, MA: HMH Books for Young Readers.
3. Hébert-Collins, Sheila. (2001). Jacques Et La Canne à Sucre: A Cajun Jack and the Beanstalk. Illustrated by Alison Lyne. Gretna, LA: Pelican Publishing.
4. Joyce, William. (2014). A Bean, a Stalk, and a Boy Named Jack. Illustrated by Kenny Callicutt. New York: Atheneum Books for Young Readers.
5. Kellogg, Steven. (1997). Jack and the Beanstalk. New York: HarperCollins.
6. Ketteman, Helen. (2012). Waynetta and the Cornstalk: A Texas Fairy Tale. Illustrated by Diane Greenseid. Park Ridge, IL: Albert Whitman & Company. 
7. Nesbit, E. (2006). Jack and the Beanstalk. Illustrated by Matt Tavares. Somerville, MA: Candlewick.
8. Osborne, Mary Pope. (2005). Kate and the Beanstalk. Illustrated by Giselle Potter. New York: Aladdin.
9. Stimson, Colin. (2012). Jack and the Baked Beanstalk. Somerville, MA: Templar Publishing. 

100+ Versions of Traditional Tales for Children

from The Dragon Prince: A Chinese Beauty & the Beast Tale. Illustrated by Kam Mak. 

Beauty & the Beast

1. Brett, Jan. (2011).  Beauty and the Beast. New York: Putnam Juvenile. 
2. Yep, Laurence. (1999). The Dragon Prince: A Chinese Beauty & the Beast Tale. Illustrated by Kam Mak.  New York: HarperCollins.

The Fisherman and His Wife

1. Isadora, Rachel. (2008). The Fisherman and His Wife. New York: Putnam Juvenile.
2. Littledale, Freya. (1992). The Magic Fish. Illustrated by Winslow Pinney Pels. New York: Scholastic. 
3. Stewart, Whitney. (2014). A Catfish Tale: A Bayou Story of the Fisherman and His Wife. Illustrated by Gerald Guerlais. Park Ridge, IL: Albert Whitman & Company. 
4. Wells, Rosemary. (1998).  The Fisherman and His Wife. Illustrated by Eleanor Hubbard. New York: Dial.

Gingerbread Boy

1. Compestine, Ying Chang. (2001). The Runaway Rice Cake. Illustrated by Tungwai Chau. New York: Simon & Schuster Books 
2. Enderle, Dotti. (2010). The Library Gingerbread Man. Illustrated by Colleen M. Madden. Madison, WI: Upstart.
3. Ernst, Lisa Campbell. (2006). The Gingerbread Girl. New York: Dutton Juvenile.
4. Galdone, Paul. (2011). The Gingerbread Boy. Boston, MA: HMH Books for Young Readers.
5. Squires, Janet. (2006). The Gingerbread Cowboy. Illustrated by Holly Berry. New York: HarperCollins.

from Goldilocks and the Three Bears: A Tale Moderne

Goldilocks & The Three Bears

1. Elya, Susan Middleton. (2010). Rubia and the Three Osos. Illustrated by Melissa Sweet. New York: Disney-Hyperion. 
2. Ernst, Lisa Campbell. (2003). Goldilocks Returns. New York: Simon & Schuster.
3. Galdone, Paul. (2011). The Three Bears. Boston, MA: HMH Books for Young Readers.
4. Guarnaccia, Steven. (2010). Goldilocks and the Three Bears: A Tale Moderne. New York: Abrams.
5. Hopkins, Jackie Mims. (2007). Goldie Socks and the Three Librarians. Illustrated by John Manders. Madison, WI: Upstart.
6. Marshall, James. (1998). Goldilocks and the Three Bears. New York: Puffin.
7. Muller, Gerda. (2011). Goldilocks an the Three Bears. Edinburgh, UK: Floris Books. 
8. Spirin, Gennady. (2009). Goldilocks and the Three Bears. Tarrytown, NY: Marshall Cavendish.
9. Stanley, Diane. (2003). Goldie and the Three Bears. New York: Clarion.
10. Tolhurst, Marilyn. (1994). Somebody And The Three Blairs. Illustrated by Simone Abel. New York: Orchard.
11. Willems, Mo. (2012). Goldilocks and the Three Dinosaurs: As Retold by Mo Willems. New York: Balzar + Bray.

From Hansel and Gretel. Illustrated by Lorenzo Mattotti.

Hansel & Gretel

1. Gaiman, Neil. (2014). Hansel and Gretel. Illustrated by Lorenzo Mattotti. Somerville, MA: TOON Graphics.
2. Grimm, Jacob & Wilhelm. (2008). Hansel and Gretel: A Grimm's Fairy Tale. Illustrated by Anastasiya Archipova. Edinburgh, UK: Floris Books. 
3. Hébert-Collins, Sheila. (2001).  Petite Pousette et Petite Poulette: A Cajun Hansel & Gretel. Illustrated by Patrick Soper.  Gretna, LA: Pelican Publishing.
4. Isadora, Rachel. (2009). Hansel and Gretel.  New York: Putnam Juvenile.
5. Lesser, Rika. (1996). Hansel & Gretel. Illustrated by Paul O. Zelinsky. New York: Puffin.
6. Moses, Will. (2006). Hansel & Gretel. New York: Philomel. 

from Chicken Little, Illustrated by Ed Emberley

Henny Penny/Chicken Little

1. Emberley, Rebecca. (2009). Chicken Little. Illustrated by Ed Emberley. New York: Roaring Brook Press.
2. French, Vivian.(2006). Henny Penny. Illustrated by Sophie Windham. New York: Bloomsbury. 
3. Galdone, Paul. (2013). Henny Penny. Boston, MA: HMH Books for Young Readers.
4. Hopkins, Jackie Mims. (2013). Prairie Chicken Little.  Illustrated by Henry Cole. Atlanta, GA: Peachtree Publishers. 
5. Kellogg, Steven. (1987). Chicken Little. New York: HarperCollins.
6. Palatini, Margie. (2005). Earthquack! Illustrated by Barry Moser. New York: Simon & Schuster Books for Young Readers. 

From Jack and The Beanstalk, illustrated by Aljoscha Blau

Jack and the Beanstalk

1. Bell, Anthea. (2000). Jack and the Beanstalk. Illustrated by Aljoscha Blau. New York: NorthSouth. (Older children)
2. Galdone, Paul. (2013). Jack and the Beanstalk. Boston, MA: HMH Books for Young Readers.
3. Hébert-Collins, Sheila. (2001). Jacques Et La Canne à Sucre: A Cajun Jack and the Beanstalk. Illustrated by Alison Lyne. Gretna, LA: Pelican Publishing.
4. Kellogg, Steven. (1997). Jack and the Beanstalk. New York: HarperCollins.
5. Ketteman, Helen. (2012). Waynetta and the Cornstalk: A Texas Fairy Tale. Illustrated by Diane Greenseid. Park Ridge, IL: Albert Whitman & Company. 
6. Nesbit, E. (2006). Jack and the Beanstalk. Illustrated by Matt Tavares. Somerville, MA: Candlewick.
7. Osborne, Mary Pope. (2005). Kate and the Beanstalk. Illustrated by Giselle Potter. New York: Aladdin.
8. Stimson, Colin. (2012). Jack and the Baked Beanstalk. Somerville, MA: Templar Publishing. 

The Little Red Hen

1. Barton, Byron. (1993). The Little Red Hen. New York: HarperCollins.
2. Emberley, Rebecca. (2010). The Red Hen. Illustrated by Ed Emberley. New York: Roaring Brook Press.
3. Galdone, Paul. (2011). The Little Red Hen. Boston, MA: HMH Books for Young Readers.
4. McQueen, Lucinda. (1985). The Little Red Hen. New York: Scholastic.
5. Paul, Ann Whitford. (2005). Manana Iguana. Illustrated by Ethan Long. New York: Holiday House. 
6. Pinkney, Jerry. (2006). The Little Red Hen. New York: Dial.
7. Sturges, Philomen. (2002). The Little Red Hen (Makes a Pizza). Illustrated by Amy Walrod. New York: Puffin.

Little Red Riding Hood

1. Artel, Mike. (2003). Petite Rouge. Illustrated by Jim Harris. New York: Puffin.
2. Daly, Niki. (2007). Pretty Salma: A Little Red Riding Hood Story from Africa. New York: Clarion Books.
3. Elya, Susan Middleton. (2014). Little Roja Riding Hood. Illustrated by Susan Guevara. New York: Putnam Juvenile. 
4. Ernst, Lisa Campbell. (1998). Little Red Riding Hood - A Newfangled Prairie Tale. New York: Aladdin. 
5. Hyman, Trina Schart. (1987). Little Red Riding Hood. New York: Holiday House.
6. Marshall, James. (1993).  Red Riding Hood. New York: Puffin.
7. Pinkney, Jerry. (2007). Little Red Riding Hood. New York: Little, Brown Books for Young Readers.
8. Polette, Keith. (2010). Isabel and the Hungry Coyote. Illustrated by Esther Szegedy. Mc Henry IL: Raven Tree Press. 
9. Salehi, Asma. (2010). Buzaak Chinie: The Porcelain Goat. San Francisco, CA: Long River Press.  (Note: Afghan folk tale that has elements of Red Riding Hood and the Three Little Pigs).
10. Sweet, Melissa. (2005). Carmine: A Little More Red.  New York: Houghton Mifflin.
11. Young, Ed. (1996). Lon Po Po: A Red-Riding Hood Story from China. New York: Puffin.

The Princess and the Pea

1. Anderson, Hans Christian. (2012). The Princess and the Pea. Illustrated by Maja Dusikova. Edinburgh, UK: Floris Books. 
2. Grey, Mini. (2011). The Very Smart Pea and the Princess-to-be.  New York: Dragonfly Books.
3. Isadora, Rachel. (2009). The Princess and the Pea. New York: Putnam Juvenile.
4. Johnston, Tony. (1996). The Cowboy and the Black-Eye Pea. Illustrated by Warren Ludwig. New York: Puffin.

Puss in Boots

1. Huling, Jan. (2002). Puss in Cowboy Boots. Illustrated by Phil Huling. New York: Simon & Schuster Children's Publishing. 
2. Imai, Ayano. (2014). Puss & Boots. Bargteheide, Germany: minieditions.
3. Perrault, Charles. (2011). Puss in Boots. Illustrated by Fred Marcellino. New York: Square Fish. 
4. Pinkney, Jerry. (2012). Puss in Boots. New York: Dial.

from Sugar Cane: A Caribbean Rapunzel. Illustrated by Raúl Colón. 

Rapunzel

1. Isadora, Rachel. (2008). Rapunzel. New York: Putnam Juvenile.
2. Storace, Patricia. (2007). Sugar Cane: A Caribbean Rapunzel. Illustrated by Raúl Colón. New York : Jump at the Sun/Hyperion Books. 
3. Wlcox, Leah. (2005).  Falling for Rapunzel. New York: Puffin.
4. Zelinsky, Paul O. (2002). Rapunzel. New York: Puffin.

from  The Girl Who Spun Gold. Illustrated by Leo and Diane Dillon

Rumpelstiltskin

1. Calvert, Pam. (2006). Multiplying Menace: The Revenge of Rumpelstiltskin. Illustrated by Wayne Geehan. Watertown, MA: Charlesbridge.
2. Galdone, Paul. (2013). Rumpelstiltskin. Boston, MA: HMH Books for Young Readers.
3. Hamilton, Virginia. (2000). The Girl Who Spun Gold. Illustrated by Leo and Diane Dillon. New York: Blue Sky Press. 
4. Moser, Barry. (1994). Tucker Pfeffercorn: An Old Story Retold. New York: Little Brown & Company.
5. Stanley, Diane. (2002). Rumpelstiltskin's Daughter. New York: HarperCollins. 
6. Stewig, John Warren. (2004). Whuppity Stoorie. Illustrated by Preston McDaniels. New York: Holiday House. 
7. Zelinsky, Paul O. (1996). Rumpelstiltskin. New York: Puffin.

Stone Soup

1. Brown, Marcia.(1997). Stone Soup. New York: Aladdin.
2. Compestine, Ying Chang. (2007).  The Real Story of Stone Soup. Illustrated by Stephanie Jorisch. New York: Dutton.
3. Davis, Aubrey. (1996). Bone Button Borscht. Illustrated by Dušan Petričić. Tonawanda, NY: Kids Can Press. 
4. Forest, Heather. (2005). Stone Soup. Illustrated by Susan Gaber. Atlanta, GA: August House.
5. Hogrogian, Nonny. (1974). One Fine Day. New York: Aladdin.
6. Kimmel, Eric A. (2011). Cactus Soup.  Illustrated by Phil Huling. Two Lions. 
7. Maddern, Eric. (2009). Nail Soup. Illustrated by Paul Hess. London, UK: Frances Lincoln Children's Book.
8. Muth, Jon J. (2003). Stone Soup. New York: Scholastic.

from  The Three Silly Billies. Illustrated by Barry Moser.

The Three Billy Goats Gruff

1. Carpenter, Steve. (1998). The Three Billy Goats Gruff. New York: HarperCollins.
2. Galdone, Paul. (2011). The Three Billy Goats Gruff. Boston, MA: Houghton Mifflin.
3. Hopkins, Jackie Mims. (2011). The Three Armadillies Tuff. Illustrated by S.G. Brooks. Atlanta, GA: Peachtree Publishers.
4. Kimmel, Eric A. (2012). The Three Cabritos.  Illustrated by Stephen Gilpin. Two Lions. 
5. Palatini, Margie. (2005). The Three Silly Billies. Illustrated by Barry Moser. New York: Simon & Schuster Books for Young Readers. 

from Big & Bad by Etienne Delessert

The Three Little Pigs

1. Alley, Zoë B. (2008). There's a Wolf at the Door. Illustrated by R W. Alley. New York: Roaring Brook Press. 
2. Delessert, Etienne. (2008). Big and Bad. Boston, MA: Houghton Mifflin.
3. Galdone, Paul. (2011). The Three Little Pigs. Boston, MA: Houghton Mifflin.
4. Grace, Will. (2007). The Three Little Fish And The Big Bad Shark. Illustrated by Julia Gorton. New York: Scholastic.
5. Guarnaccia, Steven. (2010). The Three Little Pigs: An Architectural Tale. Retold and Illustrated by Steven Guarnaccia. New York: Abrams Books for Young Readers.
6. Kasza, Keiko. (2003). My Lucky Day. New York: G. P. Putnam's Sons.
7. Marshall, James. (2000). The Three Little Pigs. New York: Grosset & Dunlap.
8. Moser, Barry. (2001). The Three Little Pigs. Boston, MA: Little, Brown.
9. Scieszka, Jon. (1989).  The True Story of the 3 Little Pigs. Illustrated by Lane Smith. New York: Scholastic.
10. Trivizas, Eugene. (1993). The Three Little Wolves and the Big Bad Pig. Illustrated by Helen Oxenbury. New York: Scholastic.
11. Wiesner, David. (2001). The Three Pigs. New York: Clarion.

from Jerry Pinkney's The Ugly Duckling

The Ugly Duckling

1. Andersen, Hans Christian. (2008).  The Ugly Duckling.  Illustrated by Bernadette Watts. New York: North-South Books. 
2. Bas, Mercè Escardó i. (2004). The Ugly Duckling/El Patito Feo. Illustrated by Francesc Capdevila (Max).  San Francisco, CA: Chronicle Books. 
3. Cauley, Lorinda Bryan. (1979). The Ugly Duckling. Boston, MA: HMH Books for Young Readers. 
4. Mayer, Marianna. (1987).  The Ugly Duckling. Illustrated by Thomas Locker. New York: Simon & Schuster. 
5. Pinkney, Jerry. (1999). The Ugly Duckling. New York: Morrow Junior Books.