Ebook The Turkey Girl: A Zuni Cinderella Story, by Penny Pollock
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The Turkey Girl: A Zuni Cinderella Story, by Penny Pollock
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To a young girl who tends turkeys for a living, an opportunity to go to The Dance of the Scared Bird seems but a distant dream.
- Sales Rank: #624652 in Books
- Published on: 1996-04-01
- Original language: English
- Number of items: 1
- Dimensions: 11.50" h x .25" w x 10.38" l,
- Binding: Hardcover
- 32 pages
From Publishers Weekly
In this sobering Native American variation of the Cinderella story, the focus is not on finding true love but on remaining true to one's promises. To repay the kindness of the poor orphan girl who tends them, the tribe's turkeys dress her in a fine doeskin robe so she can attend the Dance of the Sacred Bird. So enthralled is she with the dancing that she breaks her promise to return to the turkeys before dawn and consequently loses her friends forever. Pollock frequently interrupts the narrative with references to Zuni clothing and dwellings-the girl's yucca sandals, her "turquoise necklaces and earrings of delicate beauty." In contrast, Young's (Lon Po Po) characteristically abstract illustrations evoke the sunlight and heat of the pueblo villages with few visual clues about the story itself. Except for the heroine's beautiful face, the characters and setting are hazy shadows, often appearing simply as dark silhouettes. The reader never sees the celebrated gown, which is shrouded in a mantle; the dancers at the festival are barely visible smudges seen through the pueblo's doorways. Like the music of story hour radio shows, these illustrations set a mood, forcing the reader to fill in the visual details. Ages 4-8.
Copyright 1996 Reed Business Information, Inc.
From School Library Journal
Kindergarten-Grade 3?In this version of the Cinderella story, a poor outcast Zuni girl who tends turkeys longs to attend the Dance of the Sacred Bird. Observing her suffering, the turkeys outfit her in a white doeskin dress adorned with rare shells, as well as turquoise necklaces and earrings, and silver bracelets. To prove that she remembers them, she promises to return from the dance "before Sun-Father returns to his sacred place." As in other retellings, she does not keep her word. At this point, the story diverges greatly from the version with which most American children will be familiar: when she finally returns home, the turkeys have abandoned her forever. As an author's note points out, the story symbolically reinforces the moral that "when we break our trust with Mother Earth, we pay a price." Pollock explains that she found this story in a collection of Zuni folktales collected by Frank Hamilton Cushing, but does not provide the source. Young's spare oil crayon and pastel illustrations contain almost elemental forms that sometimes merely suggest the objects they depict. The artist makes the most of the desert's dramatic lighting, creating shadowy backgrounds that draw attention to the story's spiritual underpinnings. While his palette jumps wildly from pale shades to the most vibrant pinks, blues, and golds of a vivid desert sunset, the illustrations do not detract from Pollock's thoughtful retelling, which itself gracefully captures the Zuni landscape. Unfortunately, many pages are difficult to read due to a lack of contrast between the illustrations and the words placed on top of them.?Ellen Fader, Multnomah County Library, Portland, OR
Copyright 1996 Reed Business Information, Inc.
From Booklist
Gr. 4^-6. A young Turkey Girl forgets her debt to her loving flock and ends up with nothing in this retelling of a Zuni tale. Turkey Girl, outcast and poor, goes to a great feast with the help of her turkeys, who dance her a becoming costume and rich jewels. But she forgets her promise to return before the sun sets, and when she finally does remember, it is too late: the turkeys have gone, and nothing remains. The bleakness of the tale is softened by Young's elegantly evocative pastel and oil crayon illustrations. Desert violets and rich reds complement one another against the spacious backdrop of the southwestern sky. The changing light, a constant indication of the emotional tenor of the plot, glows with reflected firelight, the sun's setting rays, and the chill twilight shadows. Pollock's retelling is steady and solid, and her source is clearly indicated in an author's note that gives some background on the tale. Janice del Negro
Most helpful customer reviews
13 of 13 people found the following review helpful.
Ed Young drops the ball
By E. R. Bird
Not everyone knows this, but authors don't always have control over the artists that illustrate their books. Sometimes a well-established author will be paired with an up-and-coming illustrator, and sometimes it's the other way around. In an ideal situation, the text and the art compliment one another flawlessly, making it so that the reader finds it impossible to imagine any other pairing for that particular book. If I had been Penny Pollock, I would have been initially overjoyed to learn that Ed Young had been selected to illustrate my work. After all, Mr. Young is a winner of the prestigious Caldecott Medal. His books include the beyond beautiful "Lon Po Po" as well as the technically adept and gorgeous "Seven Blind Mice". Which makes it all the more painful that Ed essentially slept through the making of "The Turkey Girl". While the book has a rather interesting and remarkable story, Young's illustrations look slapdash and amateurish. This is a book that has been ruined by its pictures. Worse still, it's been ruined by a formerly very talent artist.
This Zuni tale is a kind of Cinderella story with a dour ending. It tells the simple tale of a girl who lived in her village and was very poor. Her only means of sustenance came from tending the turkeys of the rich, thereby earning her the moniker, Turkey Girl. One day the Turkey Girl overhears that there is to be a fabulous harvest dance that everyone may attend. The Turkey Girl understands that she hasn't the clothes or appearance for such an event, so she contents herself by telling her woes to her only friends, the turkeys. To her amazement, however, the turkeys respond by talking to her. Not the dumb birds we have taken them for, the turkeys present their mistress with a beautiful dress and jewelry for the dance. They insist, however, that she return to them that night before the sun sets. If she does not, they will fly far away and never return. The Turkey Girl promises and goes off to join the dance. She's a hit, but as the afternoon turns to evening she keeps putting off her return to the turkeys. Finally she tears herself away, only to find that they've all gone and that her dress has been returned to rags. As Pollack says in her Author's Note, this book (like some other Native American versions) ends with, "the hard truth that when we break our trust with Mother Earth, we pay a price".
Though it's a little depressing in the end, I liked what this tale had to say. The author has an excellent voice, and the scenes are beautifully presented through her narration. Then we get to the pictures. At first, I was captivated by Young's style. Using pastel and oil crayon, Young works with colors that are native to the American Southwest (where this tale takes place). Though a little fuzzy at first, I was more than willing to give Young the benefit of the doubt. The fuzzy image of the Turkey Girl leading her charges out of the pueblo village looks as if we are viewing the scene through the wavy lines of heat you get on especially bright sunny days. But as the book continued I realized that this style of drawing, while lovely, was completely misplaced here. Though the action in the text becomes interesting and intense, the illustrations are static and without any detail at all. In the section where the Turkey Girl goes to a spring and hears the other girls gossip (soon followed by the announcement of the dance), the picture shows a fuzzy white image of a girl perched on top of (why?) a pueblo as similarly fuzzy images walk away with pots of water on their heads. The scene where the Turkey Girl receives a beautifully described dress of, "white doeskin...belted with red-and-yellow cloth", is accompanied by a shot of two or three somewhat grotesque turkeys taking up 1.25 pages. Worst of all is the dance. The closest we get to seeing ANYTHING at all is a washed out watery shot of eight or so legs that are, for all intents and purposes, not moving. How hard would it have been for Young to infuse a little life into these pictures? Or even, heaven forbid, a little detail. The illustrator seems to be under the impression that to show any intricacies would be to betray the story itself. If so, allow me to assure you Mr. Young that we would have been GLAD to read a book where in the event that a character does something...you see it! Instead, a section that says that, "The Turkey Girl danced every dance, her heart beating in time with her stomping feet", is accompanied by a lazy-hazy view of slightly turkey-shaped clouds against a peach background. If I have no patience for this, then I can guarantee that a five year old being read this story is definitely not going to have any patience with it either.
Which is a real pity. Though Pollock's tale is a bit dark and sad at the end (not only is the Turkey Girl tawdry once more but she's also out of a job) it could easily have worked beautifully with some well placed illustrations. I just can't understand how Ed Young screwed this up. Maybe he was really busy the month he was supposed to be drawing this. Perhaps it didn't pique his interest. Whatever the reason, this book looks like nothing so much as some rudimentary studies of Zuni color schemes hastily scrawled onto a series of pages. If you'd like an adept and haunting Native American picture book fable, allow me to recommend, Rafe Martin's "The Rough-Face Girl". An Algonquin (rather than Zuni) Cinderella tale, that book has the life and energy that this book lacks. All I can say is that I feel very badly for Penny Pollock. I hope that in the future she's given an illustrator that spends a little more time and energy on the final product. For as much as I admire Ed Young, I cannot understand how he allowed himself to produce such a drab creation. I guess it just happens to the best of us sometimes. Maybe.
11 of 11 people found the following review helpful.
Not authentic!
By Debbie Reese
Many professional and lay people have given this a positive review, but my study of the book reveals it strays significantly from the way the Zuni people tell this story. While it may be poetic and well written to an uninformed eye, it fails miserably to convey the values and concepts within Zuni culture. As such, it cannot be used in a unit that teaches children about Zuni people.
12 of 13 people found the following review helpful.
An excellent American Native version of the Cinderella story
By A Customer
Turkey Girl is one of the finest versions of the Cinderella Story to use in your fairy tale and Native American curriculumns. I use Turkey Girl when reading in school classrooms and in my public library, and the children love to hear a story where there are consequences to one's actions. Too many fairy tales rely on the "happy ever after" ending, when everyone knows that if you break a promise, there are consequences to it. This book leads to lots of good discussion about promises and consequences and can be used with children from first through fourth grade. Penny Pollock writes beautifully as always.
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