Skila Brown's _Slickety Quick: Poems About Sharks_

The Plot: Slickety Quick: Poems About Sharks written by Skila Brown and illustrated by Bob Kolar is a picture book that contains 14 spreads, each dedicated to a poem and informational blurb about a different shark. Brown's picture book is not a verse narrative, as it doesn't contain any sort of plot; instead the thread that links each poem is simply the fact that they all address sharks. It may fall into the informational books category (because of its inclusion of informational blurbs), but it does not include a bibliography of sources or peritextual matter that would lead to further resources.

The Poetry: Slickety Quick includes 14 short poems that employ a variety of poetic techniques and forms. In terms of poetic devices, Brown uses rhyme and repetition pretty consistently throughout the collection. The form that Slickety Quick uses most frequently is the concrete poem; for example, the poems, "Great White Shark," "Frilled Shark," "Cookie-Cutter Shark," "Nurse Shark," "Megamouth Shark," and "Whale Shark" all use the space on the page and the visual arrangement of the words of the poem to evoke the shape of a sharks body or mouth. The poem "Hammerhead Shark (a poem for two voices" is a contrapuntal poem, as its title suggests.

The Page: Kolar uses an interesting illustration style: each spread includes an image of the shark described, as well as a background made up of layers of monochromatic shapes depicting the ocean floor and landscape. This technique gives the reader a blurred effect and a feeling of viewing each illustration through goggles or a swim mask.

I found Slickety Quick an interesting approach, but none of the poems really stuck with me. I also found the informational blurbs to be a missed opportunity to expand the purview of the picture book as an information/educative text. I give it three stars.

Skila Brown's _To Stay Alive: Mary Ann Graves and the Tragic Journey of the Donner Party_

The Plot: Skila Brown's 2016 To Stay Alive: Mary Ann Graves and the Tragic Journey of the Donner Party is a historical verse novel that explores the life and experiences of nineteen-year-old Mary Ann Graves, a real-life settler who traveled with her family, the Donner family, and several other families across the country to reach California in the 1840s. Brown bases her narrative on historical records and research to tell a particularly compelling story of a young woman's survival in a time of hardship, chaos, and ultimately horror. The nearly 300-page verse novel takes place over the course of one year, beginning in the spring of 1846 and ending in the spring of 1847. Mary Ann travels from Lacon, Illinois with her family which includes her mother, father, older married sister, three younger brothers, four younger sisters, and a hired teamster named John. Mary Ann is a quilter and a strong young woman who likes to speak her mind.

The Poetry: Brown's To Stay Alive is primarily comprised of free verse poems that make use of rich imagery, lyricism, and the space on the page, but the verse novel also includes a few concrete poems that take the shape of what they describe or allude to in the poem. For instance, the poem on page 3, "Father" is shaped like a sphere on the page and describes Mary Ann's father as "burning like the sun" and "itching" to leave on their journey. Likewise, the poem "Inside the Wagon" spreads single words across the space of the page drawing attention to the fact that riding inside the wagon is bumpy: "never still never / smooth / always bump shake rattle" (41). While these poems were interesting in terms of form and content, the poem that I found most moving and rhythmic was the final poem in the collection, "A New Quilt." This nine-page poem shows Brown's skill in the long lyric poem, something that I have yet to see many verse novelists for young readers do well. In "A New Quilt" Brown uses anaphora, lyricism, imagery, and a rhythmic line that mimics the work of quilting to tell the last bits of Mary Ann's narrative. The repeated refrains "I'm stitching / a new quilt" at the beginning of stanzas and "I stitch" justified to the right side of the page at the end of many lines become a place of meditation for the reader as she considers the ways that Mary Ann copes with her loss of many of her family members.

The Page: In addition to being divided into five sections that reflect the seasonal changes, Brown's verse novel also contains a variety of paratextual documents to aid the reader in understanding the historical time period and Brown's research process. The front papers include an article from The Lacon Home Journal announcing that a local family is headed to the west, as well as a two-page map spread that provides the path that Mary Ann's family followed. The end papers include an epilogue, an author's note, a photograph of the real Mary Ann Graves, a list of individuals who were part of the Donner party divided into families with their ages and survival status listed, and an acknowledgments section. Her website also includes an educational guide to pair with the verse novel and a variety of blog posts with more details about the Donner party.

I found Brown's To Stay Alive to be a surprisingly engaging narrative. While the subject matter (cannibalism) initially made me wary of the author's ability to tackle such a topic in a new way, Brown was able to skillfully and successfully weave Mary Ann's story together through her use of lyric poetry. To Say Alive was a page-turner. I give it four stars and highly recommend it.

Skila Brown's _Caminar_

The Plot: Skila Brown's 2014 verse novel Caminar tells the story of Carlos, a young boy growing up in Guatemala in 1981. According to the prefatory note to the reader, Brown's narrative is inspired by the real events and experiences of individuals living in Guatemala during the period after 1954 when the "democratically elected government of Guatemala was overthrown by a group of military men who were unhappy with the way the government had been passing laws to help poor farmers in rural communities. Forty horrible years followed, in which the people of Guatemala tried to resist, organize, and bring about change." Carlos lives in a small farming village with his mother in the mountains and is at the point where he is still treated like a child but wants to be grown up. When a group of soldiers come through their village asking for names of Communists and promising money for individuals who provide names, Carlos's mother and community begin to worry. The villagers decide that if the soldiers or the rebels fighting against them return to their village again, they will run and hide in the trees. While some of Carlos's friends wish to stay and defend the village, Carlos's mother is adamant that he run if anything happens. A few days later, when Carlos walks to the edge of the village and into the jungle to gather mushrooms for his mother to make soup, the soldiers return and massacre his village. He escapes into the jungle and hides in a tree; unsure about whether or not to return or to flee, he decides to make his way to the village where his grandmother lives. Along the way, he encounters a group of rebels and, after some trepidation, he begins to walk with them. Carlos teaches them what he knows about the jungle, plants, animals, hunting, and hiding. Once he reaches his grandmother's village, he must decide whether to carry on with the rebels or stay and defend the village.

The Poetry: Some of the most interesting features of Brown's verse novel are her use of space, repetition, shape, and language. Throughout Caminar, which is the Spanish word for "walk," Brown relies heavily upon the use of repetition and the blending of English, Spanish, and other indigenous languages to emphasize the significance of voice, cultural experience, and character subjectivity in the narrative. For example, in the poem "Nahuales," an elder named Santiago explains the process of coming of age for young men when he was growing up in which each young man enters the jungle to meet his animal spirit protectors:

I looked up to the trees,

away from his eyes. I did not want to tell him

no one believes anymore

in nahuales,

spirit animals who guides us in life, keep us

safe.        I walked away.

                           But I wondered

                                   which animal

                                           he saw. (22)

This poem foregrounds the tensions between Carlos's connections with his cultural history and the circumstances of his experience of war. These tensions are also connected to Carlos's desire to grow up, to go to work instead of school, and his mother's insistence that he is too young to think about participating in work and war.

The Page: Brown makes use of the space on the page and shape in her poems. Many of her poems employ right and left justification, dual columns on either side of the page, and are shaped to evoke the imagery her narrative conveys. For example, the poems "Ah Xochil" (4) and "Eye to Eye" (90) utilize right and left justified columns that encourage readers to read and reread poems in a variety of ways to glean different meanings from the poem. Concrete poems such as "After They Left" (35) and "I Climbed a Tree" utilize the space on the page and shape. "After They Left" depicts a series of voices from the village giving their opinion about what to do if any soldiers return; this poem depicts the lines of dialogue spread across the page as if the voices are coming from many different people and co-mingling together. "I Climbed a Tree" is shaped simply as a tree, utilizes repetition to depict climbing, and describes Carlos's experience of terror as he waits in the tree while soldiers with machetes and rifles pass through after destroying his village.

Brown's Caminar was a fascinating read. I give it four stars.