
little girl
in the pink swirly skirt;
legs full of grace
Here she is.






Keeping a Writer's Notebook by Ralph Fletcher. Heinemann, 1996. I am re-reading this because I want to work on writing more intentionally this summer. I have kept writer's notebooks for years but I don't really like them. Fletcher suggests using a notebook as a place to save ideas, questions, quotations that catch your ear, lists, images, or short pieces that are seeds for greater things. Just a sentence or description of an important moment can be enough to later spark finer writing. I know he is right, but I find keeping to a notebook hard to do.| Your Personality is Very Rare (INTP) |
![]() Only about 4% of all people have your personality, including 2% of all women and 6% of all men. You are Introverted, Intuitive, Thinking, and Perceiving. |



"Bad dogs, bad dogs chase the cat,
Chase the cat, chase the cat.
One dog's thin and the other dog's fat
On a summery Saturday morning.They chase the boy on the rattly bike,
The rattly bike, the rattly bike.
Chasing things is what dogs like
On a summery Saturday morning."
by Eve Bunting, illustrated by Kathryn Hewitt. Voyager Books Harcourt, Inc., 1994.

by Jane Kurtz, pictures by Rachel Isadora. Greenwillow Books, 2005.
by Ann Cameron, illustrated by Ann Strugnell. Knopf, 1981."I always thought of Julian as Everychild, having experiences that belong to children the world over. Julian, his brother Huey, and his friend Gloria are African-American children, but the text never says so. This book has a richness of language that children love, and its black-and-white drawings--by the artist Ann Strugnell--are some of the most beautiful I've ever seen in a children's book. "
Somehow growing up I got the feeling that there was something racist, and therefore shameful, about the Brer Rabbit stories. Maybe it was the way black people are portrayed in The Song of the South. Maybe I heard friends scorning the southern black dialect written into the Tales of Uncle Remus by Joel Chandler Harris. In any case, I have avoided them for most of my life. What treasures I have been missing!"It wasn't until several years later, in college, that I learned about the importance of these stories as true American folklore. Dr. Harold Thompson, a leading American folklorist, gave a lecture on people from the West Coast of Africa who had been captured and sold as slaves. Some were settled in the southern states where they took stories from home about a hare - Wakaima - and adapted them to their new surroundings. Wakaima became Brer Rabbit and the clay man became the Tar Baby."She says she tried reading Harris' books several times, but never could get past the dialect which was like a foreign language to her.
"Despite the drawbacks in Harris’s text, I still loved the stories and appreciated Brer Rabbit as a cultural hero and a significant part of my heritage. However, I was telling the stories less and less often because of the dialect.... How could I represent our African Background and the relationship between Africa and black America to primary grades? How could I show the fusion of the different African cultures and the cultures existing in American and the West Indies?"When she first reads Lester's The Knee-High Man and Other Tales in 1972 she found them to be "black folktales told perfectly." Lester went on to publish four volumes of Brer Rabbit tales, as well as many other books for children.
“Uncle Remus became a stereotype, and therefore negative, not because of inaccuracies in Harris’s characterization, but because he was used as a symbol of slavery and a retrospective justification for it… If there is one aspect of the Uncle Remus stories with which one could seriously disagree, it is the social setting in which the tales are told. Uncle Remus, and sometimes other blacks, tell the stories to an audience of one – a little white boy, the son of the plantation owner. While such a setting added to the appeal and accessibility of the tales for whites, it leaves the reader with no sense of the important role the tales played in black life. The telling of black folktales, and indeed tales of all cultures, was a social event bringing together adults and children. That folktales are now considered primarily stories for children is an indication of our society’s spiritual impoverishment. Traditionally, tales were told by adults to adults. If the children were quiet, they might be allowed to listen. Clearly, black folktales were not created and told for the entertainment of little white children, as the Uncle Remus tales would lead one to believe.”Lester goes on to explain what adaptations he has made in telling the tales, and what important elements he has retained.
"King Shabazz decided he had just had enough. He put his jacket on and his shades and went by for Tony Polito.
"Look here, man," King said when they got out to the bottom step,"I'm goin to get me some of this Spring."
"What you mean, man?" Tony asked him.
"Everybody talkin bout Spring comin, and Spring just round the corner. I'm goin to go round there and see what do I see."
"When they were halfway to the car, Tony tripped and almost fell. He looked down and saw a patch of little yellow pointy flowers, growing in the middle of short spiky green leaves.
"Man, I think you tripped on these crops!" King laughed.
"They're comin up," Tony shouted. "Man, the corps are comin up!"
