Chinese Folktales Published in the United States Author(s): Inga Kromann-Kelly and Lin Changlu Source: The Reading

Teacher, Vol. 40, No. 2, Children Reading and Writing (Nov., 1986), pp. 225-229 Published by: International Reading Association Stable URL: http://www.jstor.org/stable/20199352 Accessed: 28/07/2009 13:20
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This continues until the letter being studied is completed. (2) Tracing-students touch a color in the "paint set" that is displayed at the lower left of the screen. They then trace the letter by "painting" itwith the color that was selected. As a reward, a brief animation appears on the screen at the end of the trace phase. (3) Copying -a letter is displayed on a set of manuscript lines to be copied directly below on another set of manuscript lines. (4) Word? students copy directly below a word displayed at the top of the screen. Upon the successful completion of a "Letter Lesson," students may use an electronic coloring book. They may also use a printer to make a certificate of achievement for those letters learned; it can be colored and taken home to share with parents. Touch N' Write is a well thought out and carefully sequenced program suitable for use with primary grade students. Students enjoy using the computer to prac tice their manuscript writing, after initial instruction by their teacher. Initial direct instruction is important because concepts such as manuscript lines with the top, bottom, and broken center line are important. Students also need to be talked through the sequence of strokes for each letter, something which this program is unable to do because it does not have an audio component. This talking through is important for details. For example, inwrit ing the letter t, teachers point out that it is important to begin the vertical stroke first, midway between the top line and the broken center line, so that when the horizontal line is crossed, itwill not make the letter look like a short capital T. The publisher could make a few improvements in the program. When the printing option is selected, there is no screen display to tell the user that the printer is not turned on. The word printing freezes on the screen. Since I did not have one of the printers that were listed in the user's manual, I had to turn off the computer and start over. This program has no menu, so a student must work through all levels of ac tivities, and the only way to quit is to press the stop sign symbol at the bottom right corner. Then the program recycles back to the beginning ready for the next student. The only way to quit the program is to turn the computer off. Touch N' Write makes the computer an important learning tool for first and second grade students to use in gaining time on task as they practice their newly learned handwriting skills. As the authors point out in the introduction, "Hand skill that requires eye-hand coordination. This activity writing is a psychomotor is not mastered easily or in a short period of time. It takes practice to achieve the desired results." Touch N' Write provided that much needed repetition and
practice.

Chinese United

folktales States

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Inga Kromann-Kelly, Washington State University, Pullman, Washington Lin Changlu, Sichuan Institute of Foreign Languages, Chongging, Sichuan, People's Republic of China Chinese folktales have a history dating back more than 5000 years. Rich and colorful, they are widely known and kept alive by the Chinese people. Some have become renowned literary works; some have aroused the interest of foreign
Critically Speaking 225

scholars; a number have been translated into English and published in the United States. Translated or rewritten folktales sometimes lose their rich expression and the cultural subtleties that kept them alive within an ethnic group. Embellishments and distortions, intended to enhance appeal, often do violence to the original tale. How have Chinese folktales fared in the United States? Because a child's first encounter with people from another country is likely to be gained through stories read or told about them, it is important that those stories be accurate cultural representations. In an effort to assess the quality of Chinese folktales published in the United States, we evaluated 18 well known collections of single folktale picture books spanning a period from 1937 to 1985. Although 4 of the books currently are out of print (OP), we included them because they met our criteria and because they continue to appear in school and public library collections as well as on bibliog raphies of recommended books. We used the following criteria: (1) Does the story or collection represent authentic, recognizable Chinese folk literature? (2) Does the style of writing and illustration capture the flavor of ancient China? (3) Does the book meet standards of quality literature and art? While our sample is not a comprehensive list of Chinese folk literature availa ble in the United States, it does lead us to conclude that American, Chinese, and Chinese-American translators, writers, and illustrators generally have made a valuable contribution to the cultural exchange between the two countries. It is an exchange that we hope and expect will continue. Titles are listed in chronological order. Tales of a Chinese Grandmother. Frances Carpenter, ill. by Mathe Hasselriis. Garden City, N.Y.: The Country Life Press, 1937. This well written collection includes such widely known stories as "How Pan Gu Made theWorld" (a Chinese creation myth), "Heng O, theMoon Lady" "The Daughter of (sometimes called "Chang'e, the Goddess of theMoon"), to the the Dragon King," "The King of theMonkeys" (drawn from Pilgrimage West), "TheWhite Snake," and "The Lost Star Princess." Especially appealing is the way that the grandmother and her extended family participate in events leading up to the telling of each tale. Even today, it is customary for Chinese children to hear stories from their elders, particularly grandmothers. A fine volume for Chinese as well as American children, it continues to be available in reprint form. : The Emperor and the Kite. Jane Yolen, ill. by Ed Young. Chicago, 111.World, 1967. that one should not make This authentic Chinese folktale carries a message on the basis of appearance. The flowing text, rich in figurative judgments a rhythmic language, is enhanced by delicate cut paper designs that create visual image across the pages. selector and editor, ill. by Chinese Mother Goose Rhymes. Robert Wyndham, Ed Young. Chicago, 111.: 1968. World, Although China has numerous children's nursery rhymes and ballads, no comprehensive collections appeared until 1958. According to the editor, most of these rhymes are selected from Pekinese Rhymes by Baron Guido Vitale (Pei-T' and Press, Peking, 1896) and Chinese Mother Goose Rhymes trans lated by Isaac Taylor Headland (Fleming H. Revell Co., Westwood, N.J., 1900). The illustrations are appealing and have an oriental flavor; however,
226 The Reading Teacher November 1986

the translations are so free that many of the English rhymes are not faithful to in some cases the English rhyme does not the original Chinese. Furthermore, match the Chinese one appearing on the same page. It is hoped that an au thentic collection of Chinese rhymes and ballads will become available in English. Tikki Tikki Tikki. Arlene Mosel, reteller, ill. by Blair Lent. New York, N.Y.: 1968. Holt, Rinehart andWinston, This well known tale is an amusing but misleading explanation of why Chi nese names are short. Actually, from the early invention of Chinese charac ters, Chinese have had short names; "Tikki Tikki Tembo-no-sa-rembo is not Chinese at all. Although its imagina chari-bari-richi-pip-peri-pembo" and the story is likely to be tive and amusing qualities are commendable, it should not be included on a list enjoyed by Chinese as well as Americans, of Chinese folktales because it is not authentic. ill. by Ed Young. New York, 8000 Stones: A Chinese Folktale. Diane Wolkstein, N.Y.: Doubleday, 1972. (OP) In this lively retelling of an ancient but still popular tale, a powerful Chinese governor receives an elephant as a gift from the prince of India. In order to thank the prince properly, the governor needs to know the weight of the gift. No one can find a scale strong enough to weigh the beast, but son P'ei discov ers a way tomeasure weight using stones?8000 of them! Abstract illustra tions inmuted tones add to overall appeal. Cricket Boy. Feenie Ziner, ill. by Ed Young. New York, N.Y.: Doubleday,

1977. (OP)
A carefully crafted and exquisitely illustrated picture book, this relates one of China's well known tales of morality and magic. One learns of ancient cus toms and class distinctions, as well as of family love and honor. Text, illustra tions, and book design are all distinguished. The Terrible Nung Gwama: A Chinese Folktale. Ed Young, from a retelling by 1978. (OP) Leslie Bonnet, ill by Ed Young. Chicago, 111.:Collins+World, As indicated in an explanatory note, this southern China story is part of the national literature that originated with the common people. A cumulative tale, it is a faithful retelling of how a folk heroine saved herself and the entire countryside from the horrible monster Nung Gwama. Somber illustrations
capture the mood.

White Wave. Diane Wolkstein, ill. by Ed Young. New York, N.Y.: Thomas Y Crowell, 1979. Illustrated with delicate black and white drawings, this retelling of the story of a snail shell that turns out to be the mood goddess, White Wave, captures the spirit of the original. At one level, the story reinforces the value that those who work diligently and with humility will be rewarded. The last line sug gests a deeper meaning: "But that is how it iswith all of us; When we die, all that remains is the story." Chinese Fairy Tales and Fantasies. Moss Roberts, translator and editor. New York, N. Y :Pantheon, 1979. This meticulously documented collection of Chinese tales under six major headings includes fables, romances, and hero and ghost stories. Spanning 20 centuries, the 96 stories reflect social themes of Confucian and Taoist philoso phy varying in length from a single paragraph to several pages. Exploratory material and a source list add to the value of this scholarly resource. Sweet and Sour: Tales from China. Carol Kendall and Yao-wen Li, retellers, ill.
Critically Speaking 227

by Shirley Felts. New York, N.Y: Seabury Press, 1979. The authenticity of this collection of 24 folktales is carefully documented by one of the authors, a native Chinese. The stories are very popular in China even today. The collective retelling captures expressively but succinctly the spirit of the original tales of human foibles, mystery, and magic. A delicate line drawing complements each tale. Six Chinese Brothers: An Ancient Tale. Cheng Hou-tien. New York, N.Y: Holt, Rinehart andWinston, 1979. Each of six sons has a special talent: a hard head, skin like iron, the ability to withstand heat, or the ability to stretch arms or legs for miles and miles. Us ing their respective talents, the sons save the life of their ill father and save themselves from an evil king. Scissor cut illustrations are in black and red. Holt, Rinehart and Liang and theMagic Paintbrush. Demi. New York, N.Y. : 1980. Winston, This picture book version of an old but popular Chinese folktale preserves its character and charm in shortened form. Watercolor illustrations detail the of Liang, whose magic paintbrush brings all he paints to life. experiences When the greedy emperor tries to use Liang's gift for his own gain, Liang outwits him. Treasure Mountain: Folktales from Southern China. Catherine Edwards Sadler, 1982. reteller, ill. by Chang Mung Yun. New York, N.Y: Atheneum, Five of these six tales reflect the minority tales of southern China or the Han peasant life. The sixth, "The Magic Paintbrush," is told in greater detail than the above picture book version, but maintains the same ending, revised some illus what from the original to reflect the Communist viewpoint. Attractively trated with pencil drawings, this small volume is a valuable addition to Chinese folk literature. Yeh-Shen: A Cinderella Story from China. Ai-Ling Louie, reteller, ill. by Ed 1982. Young. New York, N.Y: Philomel, This story dates back more than 1000 years in Chinese history, well before the oldest documented European version. The bones of a pet fish, killed by the wicked stepmother, furnish the magic powers that transform Yeh-Shen so she can attend the festival. While the flavor is decidedly Chinese, the basic Cin derella story is easily recognized. Young's stunning panel illustrations com plement this Chinese version of a favorite tale. ill by Robert Andrew The Magic Wings: A Talefrom China. Diane Wolkstein, Parker. New York, N.Y: E.P. Dutton, 1983. Although the story line indeed is drawn from a Chinese tale, the text has no names, places, or motifs associated with ancient China. Thus, while the story is appealing, there is no cultural context to involve the reader. Perhaps the illustrations are intended to provide this context, but they seem contrived and lead one to question the artist's familiarity with China. Legend of the Li River: An Ancient Chinese Tale. Jeanne M. Lee, reteller and 1983. illustrator. New York, N.Y: Holt, Rinehart andWinston, The Goddess of Mercy tells a sea princess how to help the Chinese workers who suffer pitifully toiling with rocks to build the Great Wall of China. The princess breaks a rule of silence and the rocks that are being moved north are dropped instead at the River Li, thus explaining the origins of this scenic area. Flat, pastel illustrations are consistent with the simple but fluent language. Monkey and the White Bone Demon. Zhang Xiu Shi, adaptor, ill. by Lin Zheng, Fei Chang Fu, Zin Kuan Liang, and Zhang Xiu Shi. Translated by Ye Ping
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Kuel. Revised by Jill Morrow. New York, N.Y: Viking, 1984. This picture book relates one episode from the 16th century novel Pilgrimage to the West by Wu Cheng En. Loyal, fearless Monkey is one of three animal disciples of a Chinese monk. Monkey not only is a famous figure in Chinese literature but currently is featured in a Chinese television series. Here he attempts to rescue his master from the notorious White Bone Demon. Cartoon illustrations convey excitement and give a decidedly contemporary flavor to this introduction to a classic folk hero. Heaven's Reward: Fairy Tales from China. Catherine Edwards Sadler, reteller, 1985. ill. by Chang Mung Yun. New York, N.Y: Atheneum, A companion volume to the earlier collection from southern China, these six tales span 2000 years of Chinese history, reflecting Confucian, Taoist, and Communist philosophy as well as the hopes and fears of peasant folk. The flavor of the stories iswell preserved in language and illustration.

Briefly

noted

EPIE Courseware Evaluation Package. Educational Products Information Ex change (P.O. Box 839, Water Mill, New York 11976). US$149.95. This is a one time offer for EPIE's computer software evaluation package at more than 50% savings through December 31, 1986. The package includes the 1986-87 edition of The Educational Software Selector (TESS), which contains 3,500 software review citations plus descriptions of more than 7,800 currently available educational software programs; more than 800 evaluations from EPIE's Micro-Courseware PRO/FILE service and MicroSIFT service; and a full year's subscription to the TESS electronic update service of the two via Compu Serve. EPIE is a user supported consumer agency for education and is associ ated with Consumers Union of the U.S., publishers of Consumer Reports.

Ellen Mahoney and Ready, Set, Read: Best Books to Prepare Preschoolers. Leah Wilcox. 1985. Scarecrow Press, Inc. (52 Liberty Street, P.O. Box 656, Metuchen, New Jersey 08840). Hardcover. 348 pp. US$19.50. Aimed at children's librarians, teachers, and parents, Ready, Set, Read discusses hundreds of books for young children along with extensive bibliographies. Di vided into progressive stages of child growth and development from infancy through 5 years old, the book includes methods and techniques for presenting the books and activities for story hour. The authors emphasize bringing children real pleasure through reading experiences at every level, motivating them to read on their own.

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