Reading Responses 4 (Wk7: 10/6 - 10/12): Folklore

[Dr. Buffy]

Reading Responses 4 (Wk7:): Folklore  

Part 1: Add all the required children's books that you read for this week to the Goodreads group bookshelf. This week you read SIX traditional literature books.  

Note: You may not be able to add a book, if the book has already been added to the group bookshelf by another student. In this case, just add the title with your response.  

Part 2: Choose a book that you read this week EXCEPT FOR Cinderella. Answer to the following questions in the comment area. 
1. A citation for the book, formatted in APA format. (Add a book cover/link to the book in the comment area, if possible.) 
 
2. A brief annotation (no more than two sentences) for the contents of the book. 

3. Evaluate your picture book based on Betsy Hearne’s article “Cite the Source: Reducing Cultural Chaos in Picture Books”. According to Hearne’s source note countdown, where does the book fall into? Your answers to #3 should be about 100 words. 

[Adebayo]

In what ways could acknowledging the Chinese origins of the story help readers better understand the cultural values reflected in The Empty Pot?

[Elisabetta]

Stone Soup

1. Muth, J. J. (2003). Stone soup. Scholastic Press.
2. Three monks stop to stay the night in a mountain village amidst their pilgrimage to find doors locked and windows shut against neighbors and guests. The monks set out to make stone soup for dinner and as villagers become interested in making soup from only water and stones, they bring food from home to add to the pot and a community soup is made. At the end of the story, the town opens their arms to their guests and more importantly each other.
3. This book scores a 1 (model source note) on Hearne’s source note countdown because of the included author’s note that gives information about the roots of the folktale, the setting this book is in, and the changes he made to the story to reflect the culture the story now exists within. The author’s note is very detailed about acknowledging the origins of the folklore as having roots in Europe and also the existence of related stories in Jamaca, Korea and the Philippines. He tells us that he took the traditional form of the folktale and set it in China. He dives into how this retelling mirrors the Buddha story tradition of tricksters (reflected as the three monks in this book) spreading enlightenment (in this case, community, collaboration and gratitude). The author explains some of the cultural context of the motifs he used in the illustrations, all which add a richness to the story and the setting.

[Faith]

Grimm, J., Grimm, W., & Blume, K. (1986). Rapunzel. F. Coppenrath.

This is a Rapunzel retelling, navigating the classic fairy tale with rich, Renaissance-style oil paintings that give the story a timeless depth. The detailed illustrations and words work together to create a visually stunning and emotionally resonant version of the traditional tale.

Paul O. Zelinsky’s Rapunzel falls near the top of Betsy Hearne’s “source note countdown,” as it clearly cites its origins in both the Grimm Brothers’ version and earlier Italian sources like Petrosinella by Giambattista Basile. Zelinsky provides a detailed author’s note explaining how he adapted and combined elements from these tales, showing transparency and respect for the story’s lineage. This careful acknowledgment aligns with Hearne’s call for accuracy and responsibility in retellings. By crediting his sources, Zelinsky helps readers understand the cultural evolution of Rapunzel and models scholarly integrity in picture book storytelling.